LIFE IN A VASE

TOKI NASHIKI and BLACKBIRD CONSERVATORY

Words / Elva Pang
Photography / Kimio Ng
Translation / Fanny Chan

⟨ 14 March 2024 ⟩

「做工藝的必須很勤力，因為工藝是時間累積下來的東西。」梨木製陶所的Wy一邊為花器上釉一邊說。倘大寧靜的工作裡，貓兒正熟睡，放在工作室好幾年的大花器不見了，換來桌上數個待上釉的花器。「那大花器是五年前創作的，曾在不同地方展出，輾轉間去到了淺水灣的花店，好像已經找到屬於它的目的地。」另一位主理人Ryan說。當看到花藝師使用花器完成插花作品時，他們展露了由心而發的喜悅：「作為器物創作者，最快樂莫過於看到作品被好好使用，在生活中呈現出用之美。」

在瀰漫著春意的三月，香港的陶藝二人組合梨木製陶所將與淺水灣的花店BLACKBIRD CONSERVATORY合作，舉行首個花器個展「LIFE IN A VASE」，花器和花卉在這裡相遇、共生，結合花藝師的巧手與創意，讓花器成為展現花之美態的舞台，不但體現了器物的「用之美」，還碰撞出另一種層次的造物之美。

這次展覽將首度展出花型花器，花瓣的幾何形態和細節，加上表面粗糙的白化妝處理，體現精巧的工藝與優雅質樸的風格，同時讓插花藝術回到最純粹的狀態。「LIFE IN A VASE」邀請觀眾一起傾聽花與器之間微妙而詩意的對話，感受洋溢在展覽空間裡的美學和讓人愉悅的氛圍。

“Those who engage in crafts must possess great diligence, as craftsmanship is a skill that is cultivated over time through accumulated experience and practice.” explained Wy, one of the masterminds behind Toki Nashiki, while she carefully glazed the vessel. The cats peacefully slumbered in the serene studio. The largest vessel, which had graced the space for several years, was now absent, replaced by a collection of vessels patiently awaiting their turn to be glazed on the table.

“The largest vessel was hand-built five years ago and has been exhibited in various locations before finding its destined home at Blackbird Conservatory.” explains Ryan, another co-founder of Toki Nashiki. When they witness floral artists skillfully incorporating their vases into the flower arrangements, it fills them with profound joy. “As creators, there is nothing more satisfying than seeing our creations embraced and showcasing their inherent beauty in the tapestry of everyday life.”

In the month of March, when the essence of spring fills the air, the pottery duo from Hong Kong, Toki Nashiki, will hold their exhibition titled, Life in a Vase, at the flower shop, Blackbird Conservatory, located in Repulse Bay. This exhibition marks the duo’s first-ever solo showcase dedicated solely to the art of vases. With the skilled hands and boundless creativity of the floral artists, the vases created by Toki Nashiki become enchanting stages that magnify the grace and beauty of the flowers they cradle. Vases and blooms come together, coexisting in perfect harmony. Not only does this exhibition encapsulate the concept of “beauty of use” in objects, but it also unveils a new realm of artistic creation.

This upcoming exhibition will unveil a remarkable first: the debut presentation of Toki Nashiki’s exquisite flower-shaped vases. These vases blend geometric forms, delicate petal-inspired details, and a rustic powder-coated surface, resulting in a captivating rustic yet elegant style that perfectly showcases the duo’s impeccable craftsmanship. Through this unique expression, floral art rediscovers its purest essence. Life in a Vase beckons the audience to attune their senses to the whispered yet poetic dialogue between flowers and vases, immersing themselves in the alluring aesthetics and enchanting ambiance that permeate the exhibition space.

OB：OBSCURA
T：TOKI NASHIKI

OB：可以分享首次在BLACKBIRD CONSERVATORY舉辦個人花器展覽「LIFE IN A VASE」的感想嗎？

T：第一次到訪BLACKBIRD CONSERVATORY時，感覺它不像一間花店，而是一個呈現美學的空間。店內的高樓底予人強烈空間感，吊燈、掛畫、地氈、展示架等每件東西都讓人感覺到是店主精心挑選過的，細節到整體皆盡見心思。讓我們驚嘆不已的是櫥窗的展示空間，流水的展台讓花藝作品呈現出一種寂靜又有生命力的感覺。我們特意為這個空間創作了一個大花器，是今次展覽的作品中體積最大的，希望店外的人經過看到它，能夠被它吸引，然後進來看看展覽。

「LIFE IN A VASE」是我們第一次以花器作為主題的個展，花器是我們很喜歡創作的器物，它的可塑性很高，可以拋開一些平時創作實用器物的執着。我們也很期待花器遇上花藝師後，將會呈現出怎樣的意象。

OB：這次為展覽製作的花器有什麼特色？

T：展覽裡的花器可分為花型花器和手捏花器，透過這兩種不同的風格呈現我們創作的兩個主要方向：優雅和質樸。

花型花器的製作十分費時，必須先以拉坯技法製作出大概的輪廓，再用修刀把花瓣的幾何形態和細節雕琢出來。手捏花器則以盤條（coiling）的技巧製作，在過程中很自然地留下手捏的痕跡於作品之上。我們會刻意地把這些痕跡留下來，猶如記錄下這段創作的時間、狀態。

由於我們很喜歡陶泥粗糙的質感，所以經常使用化妝土為器物作表面處理，取代了常見的釉面效果。我們同時使用了不同顏色的化妝土於花器的表面，在燒製後會呈現出不同層次的質感。

OB：How do you feel about holding your first solo vase exhibition, With this in mind, at Blackbird Conservatory?

T：During our initial visit to Blackbird Conservatory, we were captivated by the shop’s unique sense of aesthetics that surpasses the typical notion of a mere flower shop. The lofty ceilings endowed the space with a remarkable sense of expansiveness, while every chosen detail, from the suspended lights to the artwork, carpets, and display shelves, exuded an unmistakable air of curated aesthetics. One thing that left us truly in awe was the display area nestled within the shop window. The display platform, with water flowing across it, infuses the floral arrangements with a serene vitality. With this in mind, we specifically crafted a large vase tailored for this space. It is the largest piece in the entire showcase, intended to catch the attention of passersby and entice them to step inside and explore the exhibition.

Life in a Vase is our first solo exhibition dedicated solely to vases. We have always enjoyed creating vases because of their remarkabke versatility, allowing us to break free from the constraints of creating purely utilitarian objects. We are also excited to see the enchanting fusion that unfolds as our vases encounter the imaginative minds of floral artists.

OB：What distinguishable features characterize the vases crafted for this exhibition?

T：The vases created for this exhibition can be divided into two main categories: flower-shaped and hand-pinched. Each embodies our primary creative directions: elegance and simplicity.

Crafting the flower-shaped vases is a meticulous and time-intensive process. It begins with using the throwing technique to shape the basic contours, followed by the skilled use of trimming tools to carve out the intricate details and geometric forms of the petals. In contrast, the hand-pinched vases are fashioned using the coiling technique, embracing the organic imprints of our hands upon the surface of the artwork. Purposefully preserving these distinctive marks, they stand as a testament to the time and creative essence imbued within each piece.

Due to our fondness for the rough and tactile qualities of clay, we often opt for powder coating as a surface treatment, instead of traditional glazing. In addition, we experiment with a diverse color palette for powder coating. As the firing unfolds, these various hues undergo a transformative process, resulting in an array of textures that breathe life into each piece.

OB：製作時會考慮它們插花時的狀態嗎？

T：這次創作的花型花器有兩個「極致」的方向：窄口和展開的形態。窄口的形態像含苞待放的花蕾，準備在春天盛開；展開的形態則像花朵盛放中的姿態，充滿生命力。創作時，我們也會想像一個花器可以有不同的使用方式，所以這次創作了一款可以分拆的花器，希望能增加花藝展現的可能性。

OB：可以談談你們對花器的想法嗎？

T：花器是一個讓花展現美態的舞台，花藝讓花器與花材更好地結合，合奏出一加一大於二的意象。

OB： Do you envision how the vases would interact with floral arrangements when you create?

T：When it comes to the flower-shaped vases, we have ventured into two distinct directions: narrow openings and fully bloomed forms. The narrow opening resembles a bud, poised to unfurl and symbolizing the anticipation of spring’s arrival. On the other hand, the fully bloomed form captures the vitality and vibrant energy of a blossoming flower. Throughout the creative process, we also envision the various ways in which the vases can be used. As a result, we have crafted a detachable vase, expanding the realm of possibilities for floral arrangements.

OB: What are your thoughts on vases?

T：Vases serve as a stage for flowers to display their beauty in all its splendor. Through the art of floral arrangement, there is a harmonious fusion between the vase and the floral elements, resulting in a synergy that transcends the individual components—where the whole is truly greater than the sum of its parts.

OB：可以談談「花型」器物的發展嗎？

T：早在我們創作的第一個系列「輪花皿」，已經有花的元素。這系列主要是碟類的食器，後來我們開始創作茶器，便把花和幾何的元素加入其中。第一件創作的花型茶器是茶海，花的流線形態很配合茶湯的流動。之後便慢慢發展出整套花型茶器包括：茶壺、茶杯、壺承和水方。這次展覽是第一次把花型系列——幾何及流線型態應用於花器之中。

OB：Can you talk about the evolution of your flower-shaped vases?

Back then when we created our first Rinka (輪花皿) collection, we sought to infuse floral elements into our designs. Initially focusing on dishware, we later expanded our repertoire to include tea utensils, where we merged flowers with geometric motifs. The first flower-shaped tea utensil we created was the Sea of Tea, featuring graceful contours that seamlessly intertwined with the gentle flow of tea. This inspired us to delve deeper into flower-shaped designs, resulting in a comprehensive set of tea utensils, including a teapot, teacups, a pot stand, and a water container. This exhibition represents a significant milestone as we showcase our flower-shaped series, combining geometric and streamlined forms in the realm of vases.

OB：製作花型花器時，曾遇到什麼困難嗎？

T：製作花型花器最困難的是白手修削的步驟，為了修出自然流暢的線條來凸顯花型的美態，每件花型作品至少需要3小時來雕琢，大件的作品更需要花上好幾天才能完成。另外，每塊花瓣之間的凹位很容易在燒製後出現裂痕，因此也需要特別細心處理。

OB：透過這次展覽，期望向觀眾呈現什麼感覺或想法？

T：展期正值春天的開始，我們希望作品給觀眾一種初春的感覺。

OB：Have you encountered any difficulties in creating flower-shaped vases?

T：The most challenging aspect of crafting flower-shaped vases is the hand shaping process. To achieve the desired natural and flowing lines that accentuate the beauty of floral forms demands unwavering precision. Each flower-shaped piece requires a minimum of three hours of intricate carving. Larger pieces can take several days to complete. Also, the recessed areas between each petal are prone to cracking during the firing process, requiring extra care and attention.

OB：What emotions or ideas do you hope to convey to the audience through this exhibition?

T：As this exhibition coincides with the beginning of spring, we hope to immerse viewers in the essence of early spring.