Interviews with Oyu

I studied the foundations of art at Musashino Art Junior College. After graduating, I worked in visual merchandising in the fashion industry. Recognizing that this field requires a broad knowledge of visual expression, I continued studying architecture, interior design, and color theory, earning professional qualifications in each. In parallel, I studied ikebana, through which I developed a practical understanding of spatial composition and color balance. My work today grows from the fusion of these diverse disciplines and experiences.

My creative drive comes from encountering beauty. Strictly speaking, I consider myself more of an artist than a designer. Design generally begins with solving problems for others, whereas my work begins with an inner desire to satisfy my own aesthetic sensibility. I create in response to what moves me, seeking to give visible form to the beauty I feel.

I chose this path myself, but looking back, it also feels inevitable. My natural curiosity continually led me from one field of visual expression to another—from art and visual merchandising to architecture, interior design, color theory, and ikebana. Over time, these experiences came together and developed into my own form of artistic expression. In that sense, I did not simply decide to become a creator; creating was something I was naturally drawn to do.

I create “SOUSAKU IKEBANA – Creative Flower Object,” an original form of artistic expression that combines floral forms, traditional craftsmanship, and diverse materials. In the future, I would like to create more large-scale works that become part of architectural spaces. Ultimately, I hope to leave enduring works in places where many people can encounter and appreciate them over a long period of time.

I do not yet consider myself a design legend, but I believe young designers should remain curious, study beyond their own field, and develop their own way of seeing. Technical skill is important, but originality grows through diverse experiences and the courage to keep creating without being overly influenced by trends or external evaluation. Most importantly, they should trust what genuinely moves them and continue refining it.

A good designer solves problems skillfully and creates work that fulfills its purpose. A great designer goes further: they reveal a new way of seeing, touch people emotionally, and create something that remains meaningful beyond its time and original context. The difference lies not only in technical skill, but also in vision, originality, and lasting impact.

I evaluate good design through the balance of purpose, beauty, and originality. It should fulfill its function naturally while also capturing attention and revealing deeper qualities over time. Most importantly, it should harmonize with its surroundings and leave a quiet but lasting impression on the people who encounter it.

Good design can change how people feel in a space without requiring any explanation. We live our daily lives surrounded by objects and spaces. Therefore, investing in good design is not simply about owning something beautiful; it is an investment in the quality of our everyday lives and in the way we perceive and experience the world.

If I had sufficient time and opportunity, I would create a work to be exhibited in a museum. Rather than designing it for a single client, I would create it for people across generations—something that invites each visitor to pause, feel a personal connection, and discover their own meaning in the work.

My dream project is to create a museum exhibition in which visitors can experience “SOUSAKU IKEBANA – Creative Flower Object” throughout an entire space. I would like to collaborate with artisans from various fields of Japanese traditional craftsmanship, allowing their techniques and materials to enter into dialogue with my work. Rather than simply displaying individual pieces, I hope to create a complete and immersive spatial experience.

My secret lies in encounters with materials—the moment when an idea and a material form a fortunate marriage. I do not see a material simply as a tool; it can become a creative partner and lead the work in unexpected directions. At present, my most important partner is the porcelain panel produced by Koransha. By listening to what each material suggests, I discover expressions that I could not have conceived alone.

Coco Chanel is a great source of inspiration for me. She opened a new era by recognizing the potential of materials and bringing them into harmony with the changing lives of women. She did not simply create beautiful designs; through materials, she introduced a new sense of freedom and new values. Her ability to transform materials into the language of her time deeply resonates with my own creative approach.

One of my favorite designs is Coco Chanel’s Little Black Dress. She transformed black into a symbol of modern elegance and freedom. Its simplicity does not overpower the woman wearing it; instead, it allows her individuality to emerge. This idea resonates with my own approach of using black as a background to emphasize the form, color, and presence of my work. I admire how such a minimal design could change social values and remain timeless across generations.

“Memories of Rose” was the first of my works to be honored in an international design competition. And now, I consider “Sho no Hana” the fullest expression of my work to date. It brings together floral form, spatial composition, color, and Japanese craftsmanship in a completely integrated way. Through this work, floral decoration evolved into an independent artistic presence—neither simply a flower arrangement nor an object, but a new form of expression unique to my practice.

I believe designers can improve by stepping beyond the boundaries of their own field. I studied art, architecture, interior design, color theory, and ikebana—not simply to acquire qualifications, but to understand visual expression from multiple perspectives. I also learned through practical work and continuous observation. Knowledge becomes creative ability only when it is tested and refined through one’s own hands and eyes.

If I had not become a designer, I might have become a producer in a creative field. I am drawn to bringing together people with different talents, allowing each person’s individuality to shine, and creating a unified world through collaboration.

Design, for me, is not about adding decoration, but about removing what is unnecessary to bring out the inherent presence of material, form, and space.

I have been inspired and supported by a diverse circle of creative friends, including architects, artists, beauty professionals, and designers. My greatest supporters, however, were my parents.

The ability to believe in my own value.

The greatest obstacle was that my work did not fit easily into any established category. About ten years ago, in a Japanese flower competition, it did not receive an award from the jury, but it was ranked first in the public vote on social media. This experience showed me that a new form of expression may take time to be understood within established frameworks, even when it resonates strongly with people. In this sense, I am deeply grateful that the A’ Design Award has recognized and continues to highlight the value of my work beyond conventional categories.

Each work should be presented in the setting that suits it best and allows its unique character to shine.

My next project, already in progress, is to present my collaborative works with traditional Japanese crafts on international stages.

My ultimate goal is to contribute to society through design and art by creating works that enrich people’s lives and culture.

I believe people expect an artist like me to remain true to my own vision while continuing to evolve, with respect for tradition and craftsmanship.

Design can serve as a tool for solving various problems in society simply and flexibly, bringing not only beauty but also wit and humor to the process.

I was deeply honored to participate in REALM in New York through the A’ Design Award. As the next stage of my journey in New York, I hope to participate in Salon Art + Design.

The project that gave me the greatest satisfaction was being invited to present a nine-piece series based on Koransha porcelain at an art event organized by Matsuya Ginza’s Private Client Art Department in 2023. I was deeply moved that my work was recognized not merely as floral decoration, but as art. Later that year, the series was also exhibited at Koransha’s Ginza showroom. In 2025, the series evolved through collaboration with Japanese traditional craftspeople and was presented once again at the same showroom. Some works from the series were also presented at REALM, held in New York in May 2026.

If I may answer this question in relation to the art world, I am grateful for the openness and flexibility shown toward artists like myself, whose work comes from outside established categories. I hope this same spirit will continue, opening new paths toward the future for those who follow.

I do not think design, art, and craftsmanship need to remain separate. As technology continues to advance, the warmth of the human hand and the wisdom carried through tradition will become even more valuable. I believe the future lies in bringing them together in new ways.

It depends on the scale of the project. For the Koransha event in 2025 mentioned earlier, I spent about three months developing the concept after receiving the commission, followed by another three months creating seven works. Including the preparation of promotional materials and the final presentation, a project can take approximately six months to a year.

I begin with an encounter with the material. Its color, texture, and character guide me toward the form the work should take.

My motto is to freeze the moment of inspiration, so that its freshness never fades, even after the work is completed.

I believe they are two sides of the same coin. Design shapes trends, while trends reflect the times and inspire new designs.

In my work, technology plays a supporting role. It helps me document and communicate my ideas, but the creative process itself is guided primarily by my senses and my hands.

I mainly use my iPhone to photograph and record materials and ideas. My creative process does not rely heavily on design software.

Color, materials, and ambience are inseparable elements in my work. Color creates emotion, materials carry their own character and history, and ambience allows the work to become a presence within the space. This philosophy is expressed in my signature tagline: “Not a flower. A presence.”

I would like people to ask, “What do you mean by ‘Not a flower’?” My answer would be, “Please feel the answer through the work itself.”

I sense a shift in the times. Great design reveals emerging values and points toward where society is heading next.

My ideal creative partners are highly skilled craftspeople who deeply understand my artistic vision. I believe that a single work needs a clear and consistent creative direction. Collaboration succeeds when we respect each other’s values and enjoy creating a world in which our distinct strengths come together in harmony.

The people who have influenced my work include creative friends from different fields and the craftspeople with whom I have collaborated. Among them, my architect friends have been particularly influential. Although my work may appear decorative at first glance, they recognized a sense of minimalism within it. Their perspective has become an important axis in helping me understand my own work objectively and develop it further.

The books that have influenced my design most are retrospective exhibition catalogues from museums, particularly those devoted to twentieth-century fashion designers such as Coco Chanel and Hanae Mori.

As mentioned earlier, through ikebana I learned spatial composition and developed my sense of color. Japanese ikebana is a small universe in which all the essential elements of beauty and composition are distilled. It taught me the aesthetics of subtraction—the minimalist act of removing the unnecessary to reveal the essence. At the same time, I developed an aesthetics of multiplication by bringing together different materials, techniques, and talents to create new value.

I would like to meet Coco Chanel and Hanae Mori. Both created distinctive worlds through fashion and opened new paths for women beyond the conventions of their time. I would love to ask them how they remained true to their vision while continuing to evolve.

I do not consider myself particularly famous. My work did not previously have an established field in which it could be evaluated, so I am deeply grateful to the A’ Design Award for providing me with that platform.

My favorite colors are black and pink. My favorite places are New York, Paris, and Rome. I love Japanese cuisine and wine, and my favorite seasons are spring and autumn. My favorite objects are Koransha tableware, and my favorite brand is also Koransha.

In 2016, Memories of Rose was exhibited in a Japanese flower competition but did not receive a juried award. The same was true of Blue Voyage in 2017. However, Blue Voyage ranked first by an overwhelming margin in the public vote on social media. At the time, I had only a little over one hundred followers, and most of those who voted for my work were creative people I had never met.

Perhaps the stories behind the works were not fully understood in Japan, where the Italian painter Giovanni Boldini and his portrait of Marthe de Florian were not widely known. For this reason, I felt a special sense of serendipity when the works were later recognized by the A’ Design Award in Italy, Boldini’s homeland.

If I had given up after failing to receive a juried award, I would not be where I am today. Instead, I trusted those unknown supporters and entered Memories of Rose and Blue Voyage together as a pair in the A’ Design Award. The pair received an A’ Design Award, and I was truly delighted.

In May 2026, my work was presented at REALM in New York through the A’ Design Award. Now, ten years after that first competition and following many experiences along the way, I am answering this Design Legends Interview. What could be more remarkable—or amusing—than this turn of events?

Going to bed early and waking up early make my day great. When my mind and body are well rested, motivation comes naturally.

Of course! (Laughs.)

To be honest, I do not believe the future as we know it will last very long. In every sense, the world has moved beyond saturation and is approaching a breaking point. That is precisely why each moment matters. If the Earth still exists a thousand years from now, I believe it will be because everything has undergone a profound reset.

Rather than telling them something, I would like to ask: “What do you feel when you encounter my work?”

My aunt owned a dressmaking shop, and my mother always wore beautifully colored clothes. Growing up in that environment, I became interested in designing clothes and, although only vaguely at the time, dreamed of becoming a fashion designer.

During high school, my interest gradually expanded to art and design. However, I was still unsure whether my true path was fine art or design, so I enrolled in the Art Education Department at Musashino Art Junior College. There, I received a broad foundation in a wide range of artistic disciplines. Looking back, I believe this education became the cornerstone of my creative practice and continues to support the work I create today.

ATELIER OYU has been my professional studio name for over twenty years. In its early years, my work covered a wide range of creative consulting services, including display design, visual merchandising (VMD), color coordination, and interior coordination.

In 2016, I established an atelier and showroom in Tokyo’s Kagurazaka district, focusing on creating floral art as interior objects. It became the foundation for developing new works, exhibiting in Japan and abroad, and collaborating with designers from different fields.

In 2022, I relocated the atelier to Namiki-dori in Ginza, one of Japan’s leading centers for art and design. This move marked a turning point in my practice. While I had previously regarded my work primarily as design, I now consciously focus on creating works of art.

To me, design is a way of connecting people, space, and emotion.

After many years of working in design, I gradually realized that creating something beautiful or functional alone was no longer enough for me. I wanted to create works that leave a lasting impression and transform the atmosphere of a space.

My current body of work, Creative Living Flower, is not about expressing flowers themselves. It is about creating a sense of presence. I believe a work is complete only when it resonates with its surroundings and quietly touches the emotions of those who encounter it.

For this reason, I do not see design and art as opposing disciplines. To me, both are creative practices that enrich people’s lives, inspire new perspectives, and create meaningful experiences.

It is an interior object created as a form of spatial design.

My goal is to create interior objects that exist as a quiet presence within a space.

The foundation of my work lies in the aesthetic of subtraction found in the Japanese art of Ikebana. Rather than simply arranging flowers, I seek to go beyond the idea of flowers themselves and create objects that evoke the presence of life.

In 2020, a Hong Kong-based hotel group established a new office in Tokyo’s Roppongi district as part of its expansion into Japan. I was commissioned to create interior objects for the entrance and reception room.

This project marked my first collaboration with designers from other creative fields, including silver craftsmanship and glass art. The result was a collaborative work titled Ouga (Cherry Blossom River): Introduction, Development, Twist, and Conclusion.

The foundation of my work is almost always a black panel. In the beginning, I used matte acrylic and slate. Around 2021, however, I became deeply impressed by the texture and depth of Arita porcelain. Since then, I have commissioned custom porcelain panels from Koransha, one of Japan’s oldest and most prestigious porcelain manufacturers. The material’s quiet elegance and refined texture provide the ideal foundation for expressing the sense of presence I seek in my work.

I never begin with sketches. My creative process starts with an intuitive response to the materials themselves. As I work, I repeatedly remove anything that feels out of place, allowing the piece to reveal its own direction. I feel most creative during this process, especially when it ultimately leads to a work that surprises even me.

The aspect I value most is the dialogue between intuition and refinement. Each work begins with an intuitive response to the materials, and from there I carefully remove anything that feels out of place. Through this process of refinement, the essential form gradually emerges.

When I am deeply immersed in the creative process, I am not consciously aware of my emotions. My entire focus is on removing anything that feels out of place. It is a quiet state of concentration in which only the work itself exists.

It feels like the birth of a child.

Just as a child becomes an independent individual after birth, each completed work leaves my hands and begins its own existence. From that moment on, I no longer see it as an extension of myself, but as a beautiful, independent presence with its own identity.

Although my current practice is centered on art, I believe the most important element of successful design is its ability to solve problems. Beyond being beautiful, great design should provide the best possible solutions to the challenges people, society, and everyday life face.

A good design contains nothing unnecessary. More importantly, it should have the power to positively influence the thoughts and emotions of those who experience it.

I believe the true value of design lies in its ability to solve problems.

As long as society continues to have needs, solutions will always be essential. As long as we recognize that design plays an important part in providing those solutions, the future of design will naturally become clear.

In November 2025, I presented a new collection at the Koransha Ginza Showroom in Tokyo.

In May 2026, I participated in the curated exhibition REALM in New York.

For my next exhibition, I hope to exhibit in New York again. I would also like to present my work in major European cities such as Paris, Milan, and Rome.

To be honest, I do not fully understand where my inspiration comes from. It simply feels as though ideas arrive when they are needed.

The moment itself lasts only an instant. To recognize it, I believe it is important to live a healthy and balanced life: to surround myself with beauty, listen to beautiful music, eat nourishing food, and get enough rest. In other words, I try to remain ready to receive inspiration whenever it appears.

Not a flower. A presence.

Between stillness and movement.

My studio is located in Ginza, Tokyo. Japan’s traditional culture is a cultural heritage that should be shared with the world, and Ginza is a unique place where tradition and contemporary culture intersect.

Working in such an environment inevitably influences my creative practice. It is a place overflowing with information, offering both nourishment and noise. Yet I believe it is precisely this contrast that continually inspires my work and encourages new ideas.

Koransha Co., Ltd.

Koransha, one of Japan’s oldest and most prestigious Arita porcelain manufacturers, is an important production partner. Their Arita workshop creates the porcelain panels that serve as the foundation of my works. In addition, the Koransha Ginza Showroom exhibits and introduces my works to the public.

Sumitomo Mitsui Trust Bank, Head Office

The Head Office of Sumitomo Mitsui Trust Bank is both a client and a supporter of my work. They have acquired my works and also display them within their premises.

Matsuya Ginza – Fine Art Department, External Sales Division

The Fine Art Department of Matsuya Ginza has supported my work by presenting it at exclusive client events.

I believe companies should look beyond a designer’s technical skills and understand what they truly value. Design is not created by technique alone; it is shaped by the designer’s way of thinking, philosophy, and life experience.

I never begin with sketches. My process starts with an encounter with the materials. Through an ongoing dialogue with them, I gradually remove everything that feels unnecessary until only the essence remains.

1. Barcelona Chair（Barcelona Chair）

2. Cassina LC4 Chaise Longue

3. USM Haller

4. Koransha porcelain

5. My own floral art pieces（Sho no Hana）

My day begins with a quiet moment of prayer at my Shinto shrine and Buddhist altar.

After checking emails, I spend my time creating, meeting with clients, and developing new works in my studio.

I also consider maintaining my health to be an important part of my creative practice, so I make time for exercise, eat nourishing food, and try to get enough rest.

In the evening, I value quiet time to reflect on the day and leave space for new ideas to emerge.

Rather than chasing trends, take the time to understand yourself.

Technical skills can be learned through practice, but truly original expression can only grow from your own life, values, and experiences.

My greatest strength is that I am not constrained by conventional ideas and always strive to pursue the essence of my work.

My greatest weakness is that I find it difficult to compromise. I rarely feel a work is complete until I am fully satisfied, which sometimes means spending more time than originally planned.

My creative process begins with addition and ends with subtraction.

I start by bringing together different materials and traditional crafts to expand the possibilities of expression. Then I carefully remove everything that is unnecessary. What remains in the end is, to me, the essence of beauty.

The sensitivity to recognize what feels out of place.

My most important tool is my own hands.

I also rely on familiar tools that I have used for many years, such as floral shears and precision cutters. At the same time, I actively embrace digital technologies, including AI, for international communication, research, and sharing my work with the world.

I make plans and manage my schedule, but creativity itself cannot be managed by the clock.

When inspiration comes, I work with complete focus. When it does not, I do not force it. Instead, I visit museums, read, rest, and prepare myself for the next moment of creativity.

It varies greatly from one work to another.

An idea may arrive in an instant, but completing a work can take anywhere from several weeks to several months. Rather than measuring time, I value the moment when every sense of discomfort has been removed and the work finally feels complete.

The question I am asked most often is, “What is this?”

People are often unsure whether my work is a flower arrangement, an artwork, or an interior object. I believe that moment of curiosity, when a conversation begins, is itself part of the work.

The most significant experience in my career was participating in the REALM exhibition in New York in May 2026.

What makes this experience especially meaningful is that it began five years earlier, when I received the A’ Design Award. That single recognition gradually led to new connections and ultimately opened the door to exhibiting in New York.

At the same time, the works I presented in New York were not the same works that received the award. They belonged to a completely new series that reflected how my artistic practice had evolved over the past five years. Being able to take that next step with a body of work that had grown so significantly made the experience even more meaningful.

My clients include business leaders, physicians, corporations, and hotels—people and organizations who value the quality of space and a sense of emotional richness.

They do not see my works simply as decorative objects, but as pieces that bring quietness, presence, and meaning to a space.

My favorite projects are collaborations with traditional crafts.

I am fascinated by bringing together techniques that have been passed down through generations with contemporary artistic expression. Through dialogue with skilled artisans, I can create works that would never be possible on my own.

It is also a great joy for me to share the value and significance of these traditional crafts with audiences in Japan and around the world through my own work.

My next goal is to expand my activities in New York while pursuing exhibition opportunities across Europe and Asia.

At the same time, I hope to deepen my collaborations with Japanese traditional crafts and continue creating works that communicate their value to audiences around the world.

I develop the concepts and designs for my works myself.

At the same time, I collaborate with outstanding artisans and specialists in fields such as gold decoration, silversmithing, and Arita porcelain. I believe that this kind of teamwork makes it possible to create works that could never be achieved by one person alone.

I am currently exploring new works in collaboration with Japanese traditional crafts. My goal is not simply to preserve tradition, but to reinterpret it through a contemporary perspective and carry it forward as a new form of cultural value for future generations.

At the same time, I hope to introduce both my existing and future works to a wider international audience. One of my dreams is to see them permanently—or for many years—displayed in museums, hotels, corporate spaces, and other public places where they can be experienced by people from around the world.

Please contact me through the contact form on my website. I will be happy to respond after reviewing your inquiry.

Finally, I would like to express my sincere gratitude to the A’ Design Award.

Receiving the award five years ago was not simply a recognition of my work; it became the beginning of new opportunities and meaningful connections that eventually led to my exhibition in New York.

With deep respect for Japan’s traditional culture, I will continue exploring new forms of expression and sharing them with the world.

“Memories of Rose” was created for a flower art competition held in Tokyo in 2016, where the theme was Impressionism.While researching Impressionist art, I became deeply fascinated by the portrait of Marthe de Florian. What amazed me was that it evoked almost the same impression as one of my own floral works that I had previously created for another competition. I was astonished that a European painting created centuries ago and a contemporary floral artwork could resonate so naturally across time and culture.As I continued my research, I discovered the tragic yet passionate love story behind the artist and his model. I was deeply moved and wanted to reinterpret their story through floral art, allowing it to live again in the present. That desire became the foundation of “Memories of Rose.”In 2017, I had another opportunity to participate in the same competition, this time under the theme of Paris. I created a companion piece, “Journey of the Blue,” portraying Florian’s strength and hope as she endured the hardships of war, in contrast to the elegance and prosperity represented in “Memories of Rose.” This work received the Audience Award.Because the two works were exhibited in different years, they were never presented together as a single narrative. They remained in my gallery studio for several years until, in 2020, I received an invitation to participate in the A’ Design Award. It finally gave me the opportunity to present them as a pair, allowing Florian’s story to be experienced as one complete journey.

The contrasting color palettes of “Memories of Rose” and “Journey of the Blue” were carefully chosen to represent two very different chapters in Florian’s life.In “Memories of Rose,” I portrayed the joyful and elegant years she spent in Paris before the war. Rose pink symbolizes love, beauty, and the glamour of that era. It is also the color of the dress Florian wears in her portrait. I adopted this color as a visual symbol of her presence and the beautiful memories she left behind.In contrast, “Journey of the Blue” reflects the period in which her destiny was transformed by war. Blue symbolizes sorrow, loneliness, and uncertainty. However, my intention was not to portray sadness alone. I also wanted to express Florian’s determination to continue living with strength despite those hardships. I conveyed this through the graceful yet powerful lines of the calla lilies, whose resilient forms became a metaphor for her unwavering spirit.Although the two works are built upon contrasting color palettes, I do not see them as opposites. Together, they represent different moments in the life of one woman.Every life contains both happiness and suffering, light and shadow. Through these two works, I hoped to express not only Florian’s journey, but also the universal emotional experiences shared by us all.

Ikebana reveals beauty by removing everything unnecessary and allowing ma—the uniquely Japanese aesthetic of meaningful space—to emerge. Western flower arrangement, on the other hand, creates rich expression and storytelling by layering flowers, colors, and decorative elements.My concept of SOUSAKU IKEBANA (Creative Living Flower) does not choose one over the other.Instead, I describe it as “the aesthetics of multiplication.”By multiplying the Eastern aesthetics of subtraction with the Western aesthetics of addition, I believe new forms of ma and narrative can emerge.In both “Memories of Rose” and “Journey of the Blue,” every flower, color, line, empty space, and spatial relationship exists to tell the story. My hope is that viewers will not simply observe the work, but experience the narrative unfolding within the space.

When I first saw Florian’s portrait, the two elements that impressed me most were her rose-colored dress and her pearl necklace. To me, they symbolized the elegance and happiness of the life she once enjoyed.I wanted to incorporate the pearl into my artwork, but rather than recreating it as a necklace, I chose to express it as a single suspended crystal pearl.That single pearl symbolizes Florian’s tear. At the same time, it marks the end of her joyful life and foreshadows the sorrowful chapter that unfolds in “Journey of the Blue.” It serves as a quiet bridge connecting the two works into one continuous narrative.For me, that single tear is not only a symbol of sorrow. It also represents Florian’s strength—the courage to carry the memories of love while continuing her journey into the future.

The title “Journey of the Blue” represents Florian’s journey toward a new life, even as she carries the sadness of her past. To express that idea, I chose the traveler’s tree as one of the central botanical elements.What attracted me was not only its name, but also its beautiful blue-green coloration. It harmonizes with the overall atmosphere of the work and reinforces the meaning behind the title, “Journey of the Blue.”The traveler’s tree is also a dried botanical material. As time passes, its color gradually changes through the natural aging process. I find this transformation deeply meaningful, as it quietly reflects the passage of time and the changing chapters of Florian’s life.To me, the traveler’s tree is far more than a botanical element. It symbolizes the determination to keep moving forward while embracing the passage of time.Through this work, I wanted to express not only Florian’s journey, but also a message of hope for everyone traveling through life’s own journey.

The dimensions of these works were originally determined by the exhibition environment of the Tokyo Midtown Flower Art Competition in 2016 and 2017. Each piece was displayed inside a showcase built into a pillar, so I carefully designed the scale to fit that architectural space while creating the strongest visual impact.Within this limited exhibition space, I wanted viewers to naturally move closer and discover the details of each botanical element, allowing the narrative to unfold gradually through careful observation.After the competition, I placed the works in acrylic display cases so they could also be exhibited in my own gallery studio. The acrylic case not only protects the artwork, but also creates a self-contained world that preserves its story.I hope these works can continue telling their story not only in exhibition venues, but also as quiet artistic presences within everyday living spaces.

Through many years of working in color studies and design education, I have come to believe that harmony is not achieved by using identical materials, but by allowing the unique character of each material to contribute to a unified artistic vision.For me, the important question is not whether a flower is fresh or artificial.What truly matters is the role each material plays and how it contributes to telling the story.In “Memories of Rose” and “Journey of the Blue,” I combined dried botanical materials, artificial flowers, crystal, and other materials with contrasting textures. Each element complements the others, together weaving a single narrative.To me, both color and material are languages for telling a story. Only when every element exists in harmony does a work truly come to life.

I designed these two works to be experienced as a single continuous story.For this reason, “Memories of Rose” is normally placed on the left, while “Journey of the Blue” is displayed on the right.Because viewers naturally tend to move their gaze from left to right, they are guided through Florian’s life—from the elegance and happiness of her early years, through sorrow, and toward the hope of a new beginning. The physical arrangement allows the narrative to unfold in a natural sequence.Although each work can stand independently, the complete story emerges only when the two are displayed together.I hope visitors will do more than simply view the artworks. I hope they will immerse themselves in the story as they move through the space.

Through this work, I hope to express more than beauty and sorrow alone.Everyone experiences moments of joy and sadness, encounters and farewells. Together, these moments shape each person’s unique story.Florian’s life was one such story.I hope viewers will see reflections of their own lives in hers and come to feel that every experience—whether joyful or painful—has been a meaningful part of the journey toward the future.If this work can offer even one person the courage or hope to take a single step forward, that would be the greatest reward for me as an artist.

Through SOUSAKU IKEBANA (Creative Living Flower), I hope to present floral art as a new form of contemporary art and share its possibilities with the world.My work is not intended simply to preserve Japanese tradition. Rather, I seek to create new artistic value by respecting and connecting the aesthetics of both Eastern and Western cultures.Collaboration with traditional Japanese artisans is also an essential part of my creative practice. I believe that when different skills, cultures, and artistic perspectives come together, they can create something that no individual could achieve alone.Although cultures may differ, the stories and emotions that move people are universal.Through SOUSAKU IKEBANA, I hope to continue creating works that serve as bridges between people, cultures, tradition, and the future.