The essence of the ikebana art is to replicate the wonder of the landscape and the sceneries observed in the nature. To me ikebana is also about creating a hypnotic balance, which is my main fascination about the nature. It's like magic to me, how everything finds its grace and reason to be in a constant evolving and changing cycle of time, between life and death.
The process I came up with to create them is quite atypical: these small vases are built and shaped initially as an hollow ball of clay with air enclosed in, so the weird shapes I give them have a sort of internal resistance to maintain the volume. Once I am happy with the overall proportions I let it dry to a soft leather stage before proceeding to carve out a tiny hole (just big enough to put one little branch of plant only) and finish the bottom with my stamp.
Working with clay is kind of like learning diplomacy. I never start with a very clear expectation in my mind when I make something in ceramics. Don't get me wrong, I have a vague idea of the process (concept & technique) but most of the doing phase is a continuous learning along the way progress (shape, proportions, finishing) achieved by compromising with the clay.
This ikebana vase was specifically designed with a bigger hole so I can fit one of my bisque fired flowers. I am happy with the proportions and contrast of organic forms in act, but the shape itself is not very helpful to the functionality of the flower at diffusing perfume. Although I like a lot the shape of the opening's "neck", I think it should be reduced to dip the flower deeper in the perfume liquid so it can better soak it up and diffuse it through the petals.