FLOWER ARRANGEMENT-NEW FOLK ART

FLOWER ARRANGEMENT A NEW FOLK ART

One of the very first things which we learn about flower arrangement is that the name is completely inadequate. It is difficult even to explain, in a few words, this creative art expression for that is exactwith merely learning to put flowers into ly what it is. The subject does not stop bowls in a satisfying and entertaining manner but reaches out to encompass all the wondrous things of Nature-rocks and wood, fruits and pods and the myriads of common and unusual growing things which abound everywhere. It covers moods and personalities. It makes use of man's handiwork and of other art expressions and even things which were originally intended only for utilitarian purposes often find their way into uses never dreamed of before. The only definition which does seem really to cover the subject concisely is accredited, I believe, to Rudolph Schaeffer, who teaches color and design in his school in San Francisco. He is also recognized as being the first in our country to teach flower arrangement as an art subject The new trend toward African primitive sculpture is perfect for the Arizona modern. Bleached wood and a palm fan with taller leaves to repeat the radiating form of the palm create a setting which is in the same feeling as the figurine.

Such a sad-eyed fish was never pulled from an Arizona lake-natural or artificial. Maybe from Rocky Point or Guaymas? Anybow, be was bought in Scottsdale and seems at home in a setting made to express bis personality, which, we trust, is that of a fish.

Beige bricks and flagstone suggest mission walls, and succulents from your own rock garden become large cactus forms in a setting for the ceramic figure of the mission padre. Figure is terra cotta and white.

Along with the usual art subjects in the regular classroom. I think you will see why his definition did not catch on. He called it, "The pleasing juxtaposition of organic and inorganic matter"! Right away let me say that this is not to mean that bowls of simply arranged flowers or arrangements with flowers predominant do not have a place in our home decorative schemes because they do. It is just that we go on from there (if our interest is great enough) and find that the subject has endless possibilities just as every other subject has. So it goes with flower arrangers and we will probably have to go on calling ourselves that. Sounds better than juxtaposers, I suppose. The five basic principles which apply to all forms of art expression (painting, music, poetry, sculpturing and the rest) apply equally to flower arrangement. Repetition in color, form and line creates rhythm. Contrasts or opposites add interest and offset the monotony of too many repetitions. Transition, or that easy step from one opposite to another, lends a softening, mellowing quality. Dominance is the strong interest around which a composition is built and balance is that structural quality which holds the complete composition comfortably within its allotted space. By the wise use of all the basic principles, harmony is achieved. You know that a certain musical composition pleases you, so you analyze: There are enough repetitions so that the whole thing is tied together but not so many that you are wearied or bored by them. Contrasts come in to renew your interest. But these two opposites are not so separated that they sound choppy (unless that is precisely what the composer intended); they have some in-betweens or transitions to blend them smoothly and, throughout, a happy balance is maintained. Exactly the same things are true when composing a flower arrangement. In choosing materials we look for something first which will set a dominant theme and then work out a composition using things which will contrast and repeat lines, forms, colors, textures and moods and we combine them into a unified, pleasing harmony. Look for feathery grasses and other fine growths to contrast the solid forms of plain, strong leaves and flowers and remember that the strong form will seem stronger and the light, airy one will seem lighter because of their relationship to each other. Bright colors will appear even brighter when placed near an opposite color-red against green as an example. This strong contrast can be softened by introducing gray. There are many interesting plants with gray or gray-green foliage which are so useful in adding refinement to arrangements. White gives sparkle to a composition and black (also dark green) provides rest areas, for the eye can tire easily from too much contrasting color. Try placing an arrangement of brilliant color upon a plain black base and see how it quiets and enriches at the same time. Vertical lines are in direct contrast to horizontal lines and a curve is always transitional; angular forms have the strongest directional movement while round forms are quiet or static. There are many contrasts and repetitions within one type of material and these must be considered in relation to the whole. Think of a red rose. The soft, velvety petals are exactly opposite in texture, color and mood to the thomy, repellent stem; the gently rounded form of the flower as against the straight, tall lines of the stalk. Well, then, where do you start? What is the first step in making an interesting flower arrangement? It doesn't matter in the least where you begin. Perhaps you have a container which pleases you with its lines, texture and coloring and you start with that and look for materials which will be especially good in it. Or it may be a figurine which inspires you to creative effort. There are some who say that figurines should never be used in arrangements-only admired on the shelfbut here I disagree wholeheartedly. I think you should enjoy them both ways but there are some special things to consider when making a composition around a figurine. Mood and scale are particularly important and imagination, too. "What about this mood business?" you ask. Being an abstraction, it is not easy to put into words but let's try because it is one of the things which marks the difference between an arrangement which is meaningless and one which sparkles and sings.

This little beginner on the snow slopes has just cracked up in a scene created from epsom salts, an evergreen spray and a few pieces of rock and wood. She came down around that bill, over there, and bit the bank.

Every figurine is representative of something in real life. It may represent it more or less realistically or it may be in a whimsical or in a stylized manner but every single one of them has something to say and you must listen. And listen well before you begin a setting for its enhancement.

A rustic, primitive type of clay figure will, of course, be in a completely different mood from that of one made of delicately colored porcelain and everyone knows that the materials used with them will not be the same. But there are all sorts of gradations between and when you begin to think about them and then interpret their moods with arrangements you will achieve a satisfaction which can never be attained by simply making a flower arrangement and then sticking in a figurine which is merely an afterthought-and looks it.

Now for what is meant by scale. Not that pest of grove and garden this time. It simply means the ratio or proportion of the figurine to the materials which are used with it. Let us imagine that we are using a small lamb which will have to be multiplied at least fifty times in order to reach the size of the real-life figure which it represents. Now, we are wondering if it will be in scale with an arrangement using large roses. All we need to do is multiply the roses fifty times and we know at once that the whole idea is ridiculous for not even in Arizona's Salt River Valley do they grow so big!

It isn't necessary to be scientific about this because art is not science-on the other hand, there are some who say it is. It just means that our eye must be satisfied (that inner eye of the soul) and we look for something which will be a little more realistic. The smaller the figurine the finer will be the plant materials used with it. The tiniest of daisies become large sunflowers, so to speak, when used with a small figurine and so it goes. A stick, which to us is just a dead stick, becomes a gnarled tree trunk and a small rock may become a boulder.

One word of warning. Don't be so carried away with the fun of expressing a mood that you put in too many things. Suggestion is so much better than overdoing. A forest may be suggested without putting in a little of everything you might find in the forest.

No matter what kind of an arrangement you may be considering, don't try to work the whole thing out in your mind's eye first. Don't get too definite a preconceived idea and then try to make everything conform. It won't and you will be frustrated and the creative essence of it will be lost.

One of the greatest joys which opens to those who begin to study flower arrangement as an art subject is the gradual awakening to the beauties of those things which are too often thought of as commonplace. It is so easy to be influenced by names. We approach things too often with our minds already made up or closed tight shut. We don't care much for that, we say. Why? Well, it's too commonplace; it's only a weed, actually. But have we really looked at it; have we really seen it?

If we will forget what things are called; if we will forget whether they are rare or commonplace and see them for what they are, we will find that much true beauty is being passed by instead of being enjoyed as it was intended to be.

The Chinese have a word which is made up of the characters which mean "look" and "see." It becomes one word then which means "look to see." They declare, and rightly so it seems to me, that we often look but we seldom see.

Flower arrangers have been accused of despoiling our roadsides, of taking away thethings which grow there so that others are deprived of their beauty. But I say it isn't so. We as a group have done much to educate the public in just the opposite direction.

We have learned where we may cut and where we may not and we never take fresh wildflowers knowing that they would be withered and dead long before they could be used in arrangements.

Learn to know your Forest Rangers. They are courteous and cooperative and inter-ested in your problems. They are authorized to give you permits to cut certain growths (such as manzanita) in limited quantity and in designated areas in the National Forests where nothing may be cut without permit. Permits are also obtainable for taking cer-tain plants from public lands for propagation and this is one of the most satisfactory means of having native plants for your own use to cut as you choose.

Dead wood, pine cones, rocks-those things which are to be found on the ground in National Forests-may be collected but you are supposed to check with the nearest ranger so that he will know where you are and what you are doing. During dry periods when the fire danger is at its height, this collecting will be confined to creek beds and trails.

Nothing is allowed to be brought out of National Parks. However, I have always wondered about the dead wood which is burned in the camp stoves. It isn't reasonable to suppose that it would be all right to burn a beautiful piece of dead wood but not be allowed to take it home for years of enjoyment. Some day I shall make a test and I feel sure that permission will be granted.

Permission in writing must be obtained before cutting anything on privately owned property. Even when you have this permission, be judicious in your manner of collecting. Never take all the flowers or pods (unless they are completely empty) from one plant. Leave plenty so that there will be seeds for the coming year. Don't pull plants up by the roots.

Among the lowly weeds there are many which are really beautiful when used skillfully and nobody will care if you help yourself. No one has ever questioned my authority to cut all the Johnston grass I wanted and it is truly beautiful if if you can forget what a pest it is. For pity's sake burn it when you've finished with it. Your husband will not thank you for strewing the seeds across the lawn or in his petunia bed.

On a recent trip down the West Coast of Mexico, I decided to try to bring out some unusual branches from a shrub growing in the wastelands near Guaymas. When I was asked by the border official if I had any plants, I said, "Only those cut branches in the back of the station wagon and I suppose you will make me throw those out." "No," said he, "they are O.K. but the Lord only knows what you want with them!" Better just to smile and let it go as trying to explain only makes it sound sillier. The Southwest is infinitely ri ch in interesting and unusual plants, rocks, woods and native crafts which lend themselves to this art of flower arrangement and we are gradually awakening to this fact. We are developing a true folk art, due, no doubt, to two main factors-our proximity to the influence of the simplicity of Oriental art and to the fact that the people of the West have always had less inhibitions than those of the more traditional eastern seaboard-our arrangements are developing a flavor all their own. It's a heady, tangy sort of flavor and we think that is as it should be.