Worskhop - September 2016

 8th Sept 2016

The Study group met at the ABK hall once more for their monthly demo, workshop and friendship.  Eleven members were present.

Molly sensei began proceedings with demonstrating using the lesson 6 in Book 4.  In the December floods of 2015, she had lost all her textbooks, along with many other things, including her beautiful garden.

Her composition contrasted the thick, lichen-covered branch below with the thin lines above, and the red jerberas complemented the vase, to create a beautifully balanced composition.  The composition was appreciated by all of us.

We then moved on to the technique of "plaiting", which sensei Trishala demonstrated.  She had used it in her arrangement in the last month's workshop on surface and mass.

She had brought various palm leaves with her to show us different methods of plaiting.

Trishala mentioned that she was taught this by her household help, and many people even today use these palm to form the thatch for their roofs.

She began with showing how the fronds have to intertwine with each other

and then showed us how to finish and work the loose ends.

Two different designs - single side plaiting and double-sided.

And another method.

 It was a learning experience indeed, and many members tried their hand at plaiting, and it is definitely wortwhile having a separate workshop for this.

The workshop on Rhythm

We then moved into the workshop.  The theme for the session was "Composing with Rhythm".

Malathi sensei  worked with various rhythms unifying into a beautiful melody!   The strong rhythm of the BOP dominates the upper space, and the rhythms become weaker and softer, as we come down to the soft murmurs of the gypsopihilia!

Sensei Molly created a basket of curved lines that were in rhythm with the curve of the vase, and the arrangement of the petals in the carnations, reflected this rhythmic pattern as well.

Sensei Prerana - The rhythm of the V shaped white vase is replicated by the V shaped dry branch. The subtle mauve of the chrysanthemums have a rhythm of their own and the white limonium adds a sombre effect to the arrangement, resonating with the vase to create a pristine effect.

Sensei Meenakshi looked to to follow the shape of the container with lines of umbrella plant

Chitra Thiagarajan established a rhythm between her vase and the material, the trimming of the palms and looping them into circular shapes, working well with the circular shape of the vase.

Janaki sensei established a rhythm between the black suiban and white ceramic cups denote rhythmic phases of the new moon and full moon, day and night. Also the cups itself denote jal tharang, a percussion instrument.

Chitra Rajan - created this evocative rhythm of snakes dancing in a bush!

Bhuvana demonstrated the rythm by using the same type of flowers and greens in both the arrangements

Ambika sensei carried the linear rhythm of the vase into the stick end of the fan, while creating a separate circular rhythm with the edges of the fan, which were mirrored in colour in the pink Guzmania flowers.  The lovely circular arrangement of the eucalyptus fell in with this rhythm.  The vertical lines in the palm leaf of the fan created another rhythm, carried upwards by the orchid and the eucalyptus.  

Sensei Trishala worked with the circular rhythms of her candle stand containers.

Dalley sensei created a dramatic rhythm with the bold lines from her apple trees in the hills, while the strelitzia created a vertical rhythm.  

The meeting closed with a discussion on the 90th anniversary celebration of our school at Tokyo, understanding the itinerary and the sessions.