An Xmas Tale

    We had heirloom Christmas ornaments that were already old when I was a child. One of them had “Merry Xmas” printed on it. Every year when my mother hung it she would say, disapprovingly, “They’re taking the Christ out of Christmas”. What we didn’t realize is that “X” is the Greek letter Chi and was not a disrespectful way to refer to the infant born in Bethlehem, as the New Testament was written in Greek.

Actually, the tree we decorated with lights and the candles we lit were more pagan in origin. These symbols, and others, like the Yule log, are corollaries of the winter solstice, the day of the year with the least sunlight. Still, the trappings of Christmas evoke a warmth and ambience totally appropriate to our celebration of the nativity. With a Dickensian attitude, we open our home to friends to share good will. For us, this always includes much baking, as the picture below attests.

We made a tableau of pastries and Christmas arrangements
based on a wintery palette that is still warm and
inviting to our guests.

This unique composition, with its
icicle-like tendrils and dormant
metallic leaves, uses red
berries for a touch of color. It
is a fantastical element of a
winter wonderland.

Here  light scintillates from the
arrangement's icy surfaces.
Amid the color and gaiety, it
appears it could melt.

Beth has crafted holiday decorations that uniquely manifest the season. There is the traditional nod to evergreens, but much of the logic behind her designs derives from a dormant landscape of ice and snow.

This poinsettia is modern in conception, with the
form being more compelling than the color. Here it is garnished
with seasonal elements that don't outshine its
subdued hue.

A composition of summer past: the
branches, leaves and seed pods no
longer verdant. Then a stick of cinnamon
to denote the pleasures we still
experience at this time of year.

This is Bob's favorite piece -- very abstract and non-chromatic.
Deco-ish in style? The icy forms play with light. It is sculptural
and needs no seasonal embellishment.

Here is the piece shown above, with seasonal garnish.
It is really just an ornament that stands on its own.

     

We have been sharing our personal approach to holiday decoration. Some of these pieces have been sold. Others are available to interested parties. Flower Design wishes our friends a warm and joyous holiday season. See you next year.        

Treats for Santa

A whimsical pine cone sundae.

     

                                               

Age is Just a Number

Bob and I just returned from Palm Springs, where I had the opportunity of studying the art of arranging preserved flowers with licensed instructor Miko Kishimizu <www.preservesbeauty.com/>. I spent two days of intense study learning techniques specific to the handling and display of these unique arrangements. The Japanese, especially, continue to refine the process of production and the results are beautiful. Their manufacture has evolved from the days when blossoms were exposed to the preservatives by just hand dipping them to current practices, where blossoms are infused with preservatives using ultrasonic waves produced by machines vibrating at a rate of 200,000 cycles per second. In my brief time with Miko, I barely scratched the surface of the intricate varieties of techniques needed to arrange preserved flowers for their maximum effect, but I did learn the basics of creating corsages, centerpieces and bouquets.

This large arrangement of roses was made by
Miko 5 years ago. She preserved the blossoms herself
by hand dipping them in various preservatives. They are still beautiful
and grace their surroundings. Today, she imports her roses from
Japan for their superior quality.

Preserved flowers are more expensive than fresh, but they last so much longer--literally, for years , without deterioration--that they are a much better value than fresh flowers in homes and commercial settings. They are also the ideal choice for wedding bouquets. Brides who want their bouquet preserved must send them to a company providing that service. The flowers will not arrive there in pristine condition and the procedures used with assembled bouquets do not produce optimal results. Should the bride have the bouquet duplicated for preservation, she also duplicates her costs. It is better to begin with preserved flowers. No one attending the ceremony will notice a difference and that very bouquet will last for years in its original condition.

This is a wedding bouquet of yellow calla lilies and white hydrangeas
with assorted greens and ribbons. All organic elements
are preserved. It is a lovely composition and will
retain its good looks for many years to come.

Here is an Ikebana style arrangement
with dendrobium orchids.

Miko pointed out another advantage to preserved flowers. They are hypoallergenic, which makes them ideal gifts to hospitalized friends.

This typical western style arrangement
looks like it has come right from the
garden, but is actually 6 months old. There is no
water in the vase.

These beautiful decorative elements are popular throughout the world, but haven't caught on yet in the United States. Their cost benefits make them ideal for commercial settings and their beauty makes them enduring personal gifts. You must see them to appreciate their amazing qualities. I would be pleased to introduce you to this development in floral decoration.
All arrangements were made by Miko.

This photo was made with a point and shoot camera
and is not a sharp image. It was shot in the lobby of the Ritz-Carlton hotel in Osaka Japan. The flowers are all preserved blossoms and I've included this image to illustrate
their popularity abroad.

Perpetual Potion

Last week Flower Design participated in the Event Planners’ Showcase, hosted by the Blaisdell Manor.  The theme was predominantly, but not exclusively, wedding receptions. We especially enjoyed seeing the work of Christine Anderson, owner of Christine’s Floral Touch. She, of course, uses fresh flowers, and does lovely work. Some of our work there has already been displayed on our face book page. (We also enjoyed the first-rate food from the Manor’s kitchen.)

We showed this vase in a previous
posting. Now containing an
arrangement of green calla
lilies, heliconia and vanda
orchids, it adds elegance
wherever it is placed,

Here is the vase we used in the Art in Bloom
show, now sporting an arrangement of
calla lilies and red ginger. It is flanked by
sophisticated compositions of stock
and ranunculus.

This montage is perfect for the bay
window of the Manor's Georgian
interior.

                

In addition to permanent botanicals, we exhibited a product that has not really caught on, yet, in the United States, but is very popular in other parts of the world.  Fully two-thirds of the “Likes” that we get on our business page come from abroad, and most of those are from Asia. We see styles and trends indigenous to other cultures. Beth is especially interested in the Japanese custom of using preserved flowers. These were once living blossoms that have been chemically treated to preserve their original look and feel.

This small composition of hydrangea
and roses in a martini glass is the
ideal accent for a small bar table.

This formal table setting is adorned
with a centerpiece composed of
preserved and dried elements.
It could be adapted for any
holiday or special occasion.

Another accent in a martini glass:
white rose petals around the rim
with a red rose and red dyed
hydrangea in the center.

Here orchids, roses and a pink calla lily
are nestled among some greens--all
preserved. Shown here in a hand made Ikebana
vase, this is a traditional Japanese
composition.

[All you non-chemists should skip this paragraph. Preserved flowers have had their  water extracted, leaving a carbohydrate substrate with active hydrogen atoms. The substrate is then infiltrated with reactive polymer acetals which link to the hydrogen atoms of the substrate to form three-dimensional polymeric networks. Whew.]

Another typical preserved Japanese arrangement:
colored roses and hydrangea with gypsophilia and ferns in a hand thrown pot.

Certain flowers respond to this treatment better than others. The most commonly preserved blossoms are roses, calla lilies, some orchids, gardenias and carnations. Flowers subjected to this procedure almost always have their stems removed. I imagine this is because the stems have thicker tissue and will not dry out as thoroughly as the blossom. To assemble these blooms into an arrangement then requires the stem to be replaced. This involves a technique of wrapping fine florists’ wire securely around the base of the blossom and then wrapping the wire with green florists’ tape to simulate a stem. This simulation does not look very authentic, so arrangements and bouquets are contrived to conceal the stems. When this is done skillfully, the result is a realistic looking floral composition. Because the blossoms are delicate and the wire is so fine, producing a quality product requires much, much practice.

The advantage these flowers offer is their longevity. Preserved flowers retain their look and feel for years. Some vendors claim the fresh appearance lasts forever. The technology is too new to support that claim, but experience shows that there are no signs of deterioration after three years. This is the ideal solution for the bride who wants to know how to preserve her wedding bouquet as a long-term keepsake. It is preserved before the wedding and, with proper care, will last for years.

A bridal bouquet with pink and white roses and
some greens added for contrast. With minimal
care, this bouquet will appear unchanged for years, both
visually and texturally.

Interestingly, this is a technique the Japanese continue trying to refine. There is a new patent for preserving flowers that uses esters (certain kinds of fat) in the preservation process. The patent claims to do a better job of retaining the original colors of the flowers. We are looking for sources that use this method, but the technology is very new and we haven’t been successful in locating a vendor selling specimens processed this way.

I did not originally plan to provide floral arrangements for weddings. That is a big job and floral design was to be a hobby that allowed me to express my creative side without becoming a full-time proposition. However, I will want to develop and maintain the skill of working with this interesting product and, so, may occasionally try my hand at composing a bridal bouquet. When expertly made, they are as beautiful as any fresh bouquet. I recently read a bride’s testimonial about her florist in which the bride complimented the freshness of the flowers in her bouquet by saying they still looked good five days after the wedding. I believe brides who carry preserved bouquets will sing these praises five years after the wedding.

In addition to wedding accessories, The Japanese use preserved flowers in small, decorative arrangements. These can be used as accent pieces in the home and are frequently given as gifts. The aesthetic conventions of these compositions are uniquely Asian, but I really like them. You will see the Japanese influence on arrangements on our web site from time to time, much like the little red purse on this page.

Hydrangea and red roses with baubles
in the form of a small purse constitute
a typical Japanese decorative
accoutrement.

Flowers on the Bay

The American Institute of Floral Design sponsored a symposium in San Francisco earlier this month. Bob and I flew out there to see what some of the most creative minds in the field of floral design were doing and to see what new trends were emerging. While I don’t usually work with live flowers, the artistry we saw there is certainly transferable to my work with permanent botanicals.

A lovely view of San Francisco

This monumental arrangement of Anthurium
like the roses, at left, suggest the
impressive display of fireworks we saw
the night before.

This cascade of roses is  similar in
approach to the Anthurium at right.
they both need a hotel lobby
to accomodate their scale.

Of course, when these professionals get together, they are going to be operating at the peak of their game. We saw amazing displays of talent. Many were so large they would only be appropriate for huge events.  Even with these experienced pros, blossoms were continually being replaced to maintain a fresh appearance. They were showy and festive, but not practical as design elements for the long term. It is the goal of Flower Design to provide the color and compositional beauty of floral arrangements that are cost effective due to their permanence.

Here green Anthurium and kale are supported
on a curled branch. 

Tropical greens, orchids and bamboo
create an Asian ambience that would
dominate just about any space it
occupied.

     

An extremely elegant arrangement
for a formal setting.

A simple non-floral arrangement
of kale and greens surprising in its impact.

Not all arrangements were over the top, size-wise. There were many table-top compositions that were exceedingly clever. Some were quite simple but still expressed a grace and charm that were compatible with the most elegant environment. Others were regal in bearing despite their diminutive size. Flowers are a naturally beautiful element that enhances our environment regardless of the scale; a skillful florist can elevate their natural beauty.

A clever idea based on Calla lilies,
orchids, horsetail, with other decorative
elements that unite the
composition.

The Czech composer, Dvorak, resided in the United States for a brief time in the late 19^th century. One natural wonder he wanted to experience was Niagara Falls. While there, he and his wife got into a discussion on the nature of beauty, specifically—which is more beautiful: the splendor of the Falls or Beethoven’s rendering of nature in his 6^th symphony. They agreed that Beethoven’s work surpassed the natural beauty because nature is unthinking while great art expresses beauty and consciousness. I’m not suggesting that a floral arrangement is on the same par with Beethoven’s music, but they do both exhibit a human contribution that complements nature.

After attending this symposium, I believe I would be available to create live arrangements on a limited basis.

These Flowers Last Longer Than Some Marriages

It’s that glorious time of the year when the appearance of real flowers in the garden are the sign that spring is actually here.  This association between the emergence of   beautiful blooms and the reappearance of beautiful weather is certainly a connection that contributes to our love of spring flowers.  When I rode the city bus to work, it was not uncommon to see, at this time of year, fellow commuters taking to work bouquets of peonies or tulips or lilacs that they grew themselves. These are truly beautiful gifts of nature.

It was also not uncommon to visit an office or waiting room and see these bouquets in a clear glass vase of yellowing water, the stems limp and bent, the petals browning and decrepit. Their beauty was short-lived and their condition after three or four days was more of an eyesore than it was a highlight of the room. Still, there they sat, a cherished relic of earlier beauty. Such is our attachment to flowers.

I doubt their fleeting splendor is the main reason we so enjoy a floral display. Mostly, I think, it is because flowers are just beautiful. The combination of subtle coloring, delicate texture and intricate composition make them an incomparable natural object that touches us at an emotional level. We try to replicate these qualities with artificial flowers, but that may be an impossible task. Yet many faux blooms are approaching the threshold of deceiving the senses. When these high quality replicas are artfully arranged, I believe they are able to elicit an appreciative response and, therefore, they can make a meaningful contribution to our environment. 

This has been my goal: develop decorative faux floral elements that contribute beauty to a space, whether a home, private office or public area in a business suite. I’ve deliberately avoided the traditionally commercial spheres of weddings and funerals. However, I have recently developed some compositions that could work for a wedding and, in most cases, would then be adaptable for other uses. I have only one arrangement exclusively suitable for a wedding. It is large and white and would be used to enhance a reception tableau. A venue might keep such an arrangement on hand to offer as a perk or rental. With costs always creeping upwards, it would be cost-effective for reception venues to have an inventory of quality artificial arrangements. These could be made available, at a nominal cost, to contribute to a festive atmosphere at the reception and dance without breaking the bride’s budget and still allowing her to coordinate her bouquets and ceremony flowers.

I want to thank the Blaisdell Manor for making their lovely Georgian mansion available to Flower Design as a setting to showcase some recent compositions and the contribution they can make to a wedding reception. You will also notice I engaged a professional photographer, Noah Wolf. My husband, Bob, did not trust his marginal photographic skills to do this photo op justice.

I have to include this telling anecdote. We delivered the arrangements to the Manor the night before the shoot so time would not be wasted when the photographer showed up the next day. Some venue staff was on hand to help out: setting up tables, providing linens, holding doors open as we brought in the arrangements…in general, being very thoughtful and helpful. They understandably left the handling of the flowers up to us. When we were finished for the evening and preparing to leave, one of the staff suggested that the air conditioning be turned on so the flowers wouldn’t wilt. We explained that wouldn’t be necessary. So, let’s look at the arrangements.

This is the entrance to the Blaisdell Manor. While an arrangement of flowers is always a lovely
embellishment, in a large area, a single arrangement can appear lonely and dominated by the space.
With several arrangements, a warm, welcoming ambience is created.

The wine bar is flanked by compositions of
stock, hydrangeas and irises. We'll see
another use for these arrangements in a
subsequent posting.

The Blaisdell Manor is rife with amenities.
Here is a little wet bar tucked away
on the second floor.

The Vase at the Base:

When we first started selling artificial flower arrangements, we knew we wanted to use only the highest quality stems for our compositions. These are, naturally, the most expensive. We try to constrain the costs of our arrangements by placing them in containers that are relatively inexpensive but look good and complement the composition. There are many inexpensive glass, ceramic and metal vases available that look quite nice and that do not detract from the overall quality. It came as a surprise to learn that clients may develop attachments to specific vases and, in many instances, are not deterred by the cost. In fact, one of our first clients found a vase on line, asked us to order a couple of them and to develop arrangements that were compatible with these vases.

In most cases, we still aim to be cost effective in the vases we use when illustrating the arrangements posted on our site. However, in our previous blog posting, you read that we had a vase custom made for Beth’s composition designed for the Art in Bloom event. We have also noticed a design trend to group empty vases as decorative focal points. I am currently working on some designs that emphasize the vase. 

Lacking the dexterous prose style of Dicken’s, I now abruptly jump to the subject of this entry: vases can have a form and beauty independent of the floral arrangement they contain. In Japan, the makers of pottery vessels (among other disciplines) who have attained a high degree of artistry and who, thus, preserve the ancient traditions of their art form, are officially recognized by the state as “living national treasures” and receive a stipend to support their work. This is not an easily achieved status.

I was reminded of this aesthetic cultural concept this past spring when returning from a visit to my family in southern Wisconsin. Bob is from a small town north of Madison.  As he no longer has family there, apparently nostalgia beckoned and he decided to add an additional day to our trip home by abandoning the freeway and swinging through his hometown. His father owned property and two acres with buildings were sold, many years ago, to a young couple that wanted to start their own pottery business. We stopped in to see how their enterprise had developed.

Clay is composed mostly of silica that has been broken down over millions of years into tiny, tiny particles or flakes suspended in a liquid medium. It is what chemists call a colloid. (So is Jello.) The size of the flakes determines the properties of the clay. The potter we visited, Susan Anderson, explained the practice of kneading the clay before molding it so as to attain the desired texture. Actually, explained is too tame a word for her discourse. Susan waxed rhapsodically, describing her goal of working the clay until the metal flakes – feldspar, copper and zinc - were perfectly aligned to her satisfaction. As she said, she wanted to capture their repetition.  Mind you, she can’t see this property; it is a tactile exercise, maybe an intuitive one, much like a baker kneading bread until it is just right. (For another analogy, read chapter 94 of Moby Dick.)

With the clay expertly prepared, molding can begin. Susan takes her cues from nature, modeling forms based on leaves and plants. Her work is very compatible with the aesthetic of the Arts and Crafts movement, but with more modern sensibilities. Below is a small dish we purchased that is patterned after a leaf. Not only is the form exquisitely graceful, but the glaze has a depth and luminous patina to it that result from the application of six layers of glaze, each layer a different glaze and each glaze a proprietary recipe. This knowledge and experience results in a superior piece. It is an amazing piece.

This small, leaf shaped dish requires no less artistry
than the large, sculptural vase shown below. Of course,
the logistics are more challenging for a larger piece, but
the quality of the small dish is a comparable
testimony to the artist's skill.

Like the best artists, Susan is always pushing the envelope. Our little dish reveals her craftsmanship. There are no flaws to suggest a lack of commitment to her process. The smallest piece is valued no less than the largest. Then we saw the largest. Is it a vase? Is it a sculpture? Yes. To me it suggests a plant opening to the sunlight.

This amazing construct demonstrates the artist's mastery of her medium
as well as it testifies to her prolific imagination. The different colors result from the different minerals
of the many overlaying applications of glaze used.

This creation was crafted with the same care as any other object in her studio. Susan gave me several photos she took as she developed the piece. As the composition is built up, it must periodically be given substantial time to dry so that the completed part is able to support the weight of additional clay as the form grows. The clay must also be very dry and contracted before it goes into the kiln if it is not to crack from the heat. Visible in a photo taken during the development phase are strips of fabric lining the margins of the flat, leaf-like structures. These keep the edges moist so they can be shaped and augmented while the bulk of the piece dries. Susan has made special shims to keep heavier parts of the construct from sagging as they dry.

Considerable work has already been done to
achieve the general structure, but, obviously,
much more refinement is required before
this piece is ready for the bisque firing.

Progress in refining the piece's appearance is obvious
here, but much work lies ahead. Note the fabric on the
edges of the leaf/petal/vane structures. This is used to keep
the edges moist while the heavier  parts air dry. Keeping
these edges wet allows Susan to curve, taper or augment them
as she chooses. Thus the piece evolves in its own unique
way.

When forming is completed and the clay is dry, it is fired in a kiln. This is called the bisque firing and produces a chemical reaction that binds the molecules and hardens the clay so it wont fall apart when it gets wet.  After the bisque firing and subsequent cooling, the piece is glazed. Susan has her own recipes for liquid glazes, which she applies with a brush. Thus, all her patterns are deliberate and nothing is random. Her pieces will have three to six thin coats of glaze applied. Each layer must dry before the next is applied. The glazes provide a vitreous seal and the metals in the glaze color the clay. When the glaze is thoroughly dry, the piece is fired again, at a higher temperature than the bisque firing, for 12 hours, and it remains in the kiln until cool. Then if it is removed without breaking, the process has been successfully completed and the world may be treated to the spectacle of something magnificent. (See above.) I believe her work attains heirloom status: her pieces will be kept in the same families over generations, much like Stickley furniture, for example.

Susan is showing her work at the Edina Art Fair, June 3,4 & 5 and at the Powderhorn Art Fair, August 6 & 7. She can be reached at grpottery@hotmail.com. I urge everyone to go out and support her and all the artists who have mastered and preserved these art forms that were once on the cutting edge of human technology. And if you should find a nice vase to take home, give me a call and let’s make arrangements.

A Day at the Museum

Once again it’s time for the Art in Bloom event at the Minneapolis Institute of Art. This is an opportunity for floral designers to interpret an Institute display using freshly cut flowers and greens. I participated to keep some currency working with fresh blooms. I did not get the impressionist seascape I hoped for, but was assigned, instead, the portrait of Clementine Karr by Henri Lehmann, a French painter I am not familiar with. The painting is in a relatively small oval frame. The subject is an upper class woman painted in 1845. Her face betrays no emotion but is characterized by large eyes with a penetrating gaze. It is my understanding that Lehmann wanted to portray strong, independent women and not the rosy-cheeked females with tiny lap dogs and who gaze lovingly at their lord and protector. The overall tone of the picture is dark; the background is unlit and Clementine wears a dark violet gown and has very dark hair. However, the paleness of her face and neck contrast vividly with these dark tones and a glimpse of shawl visible on her right is brilliant gold.

Here is the resolute Ms Karr: a formidable looking dame,
indeed.

This is my floral interpretation. While there
is a correspondence between the tonal
elements of the two compositions, the beauty
of the flowers cannot capture the severity
of her gaze.

My approach was based on these contrasting palettes. I also wanted to maintain the oval contour of her frame. To this end, I had a vase made especially for this project. It repeats the curvature of the frame’s base and allows an arch of willow branches to complete the oval form. The willow branches, in turn, support an array of eggplant colored calla lilies that reflect the dark, sleek style of Clementine’s coif. Her pale skin, chic for its time, is represented by a grouping of star of Bethlehem and hydrangea blossoms.  Dendrobium orchids provide the dark tones of her dress and gold cymbidium orchids provide the flash of color in her shawl.  While the arrangement is not a literal reproduction of the portrait, and could stand alone in its own right, I did want to achieve a spatial color correlation between Lehmann’s work and my own. The Art Institute has posted on line a previous floral interpretation of this piece that was much more abstract in form but adhered to the same color palette. Interestingly enough, that work also incorporated calla lilies. Callas and Clementine seem to go together.

Another angle on our subjects. This painting was not my first choice,
but now I am grateful for the opportunity to come to know
Clementine.

This is the vase designed by
Karen to help mirror the
eliptical shape of the frame.

I would be remiss if I did not thank Karen Brown, the ceramicist who designed and fabricated the vase. She worked overtime to get it done on schedule. You can check out her work at the Northrup King Building in north Minneapolis. Her on line address is kbceramics@comcast.net. We need to support our local artists. Thank you, Karen.

This composition cannot be called
austere in concept. Its beauty lies
in achieving balance in the
convoluted structure.

The Ikebana compositions in the Asian galleries
reveal much beauty with  economies of line.

This study in green resolves a coil of leaves into a single, clean
over-arching line that seems an umbrella for the
counter balancing daisies.