I draw inspiration from Hiroshi Teshigahara in my drawing series, Ikebana Décalcomanie, an ongoing exploration of intention and spontaneity. In Ikebana, each stem follows its own organic direction, resisting manipulation while shaping the composition in unexpected ways. Décalcomanie mirrors a similar journey, where pigment flows, merges, and settles prediction. Both practices require preparation, precision, welcome unpredictable as an essential part of the work.
Since 2019, I've been studying the colour harmonies of birds, observing their natural palettes through drawing and research. This process informs my experiment with pigment, shape and spatial harmony. I use green materials from my Ikebana practice as painting tools, translating Ikebana into two-dimensional space while expressing its ephemeral and evolving nature. Paper becomes a vessel, watercolor echoes the fluidity of water, and paint becomes material, illustrating the relationship between flowers, vessels, and the movement within Ikebana.
This series reflects on impermanence, transformation, and surrender, a space where structure and unpredictability coexist, and where meaning emerges through the dialogue between control and chance.
