War and Pieced: The Annette Gero Collection of Quilts from Military Fabrics – A Splendid Exhibit

detail, Regimental Bed Rug, Sgt. Malcolm Macleod (Dates Unknown), India, c. 1865, wool, mostly from military uniforms with embroidery thread; inlaid; hand-embroidered. The Annette Gero Collection.

War and Pieced: The Annette Gero Collection of Quilts from Military Fabrics, the current exhibit at the Museum of Folk Art is a must see!  Especially if you like quilts, but even if you don’t. Drawn primarily from the unparalleled collection of internationally acclaimed quilt authority Dr. Annette Gero, all the quilts were made by men in uniform: soldiers, sailors and regimental tailors.  This was not an accident of history, but rather the result of the English government’s attempt to boost the morale of its troops far away from home, whether in India, the Crimea or fighting the Napoleonic Wars.   Being a soldier could involve a fair amount of tedium, especially when stationed in areas that were remote, or where going into town was not sanctioned or not an  option.  In order to keep the troops from relieving their boredom by drinking and gambling, the English government promoted quiltmaking as a masculine activity, both at home (to future soldiers) and to the conscripted.

Because the soldiers used milled wool and broadcloth made for British uniforms, the color palette is pretty much red, greens, blue/black, gold, beige and white, with the occasional purple – however, that seems to have been a spur to the complexity of many of the patterns.  For me, the mix and arrangement of varying sizes of rectangles, stars, diamonds and squares into geometric patterns with concentric frames gives several of the quilts an op-art feel.  While many of the textiles have no batting or are not backed, the exhibit uses the word “quilt” as “a term of convenience.”  No matter what you call them, they are all stunning.  They are also very big, anywhere from 5 feet to 9 feet high.

Captain Webb’s Hut, 4th Dragoon Guards, Roger Fenton

In the entryway to the exhibit, you’ll find Roger Fenton’s photos of the Crimean War (1854-56) projected on one wall.  Because of the difficulty of taking and developing photographs in the mid-19th century, many of Fenton’s pictures are posed ones of key military leaders and enlisted men, or stills of their surroundings.  Against another wall you’ll find the words to “The Charge of the Light Brigade” as well as a wax recording of Alfred Lord Tennyson reading his poem (it’s faint, but give it a listen).

Off to the left, the gallery features 6 quilts mostly made in India.  Since soldiers were often stationed there for years at a time, the British government held quiltmaking workshops and sponsored competitions to keep them engaged.  It’s not clear if all the quilts on display were made by soldiers, or were the work of professional tailors, as they weren’t signed or otherwise attributed to a particular person, which also makes it difficult to determine where they were made and whether it was during or after service abroad (some are thought to have been made by soldiers convalescing in military hospitals).

detail, Beaded Soldier’s Quilt, artist unidentified, India, c. 1860-70; wool with beads; inlaid, hand-appliquéd and hand-applied beadwork. The Annette Gero Collection

You’ll notice that many of the seams are covered in chain stitch or rick-rack, and there’s often beading or other embellishments.  India has an ancient tradition of beadmaking, and quilts like this one were often made by a colonel’s orderly, who was more likely Indian than British.

Soldier’s Mosaic Stars Quilt, artist unidentified found in Germantown, PA, late 19th cent., wool, International Quilt Study Center & Museum, University of Nebraska-Lincoln

This piece from the late 19th century is a bit of an outlier – it was found in Germantown, Pennsylvania, artist and origin unknown, but it is similar to ones made by Jewett Washington Curtis, the only American soldier known to have made quilts in the British style. 

detail, Soldier’s Quilt, artist unidentified, Crimea, India or UK, 1850-75, wool, probably from military uniforms; inlaid; hand-appliquéd with buttonhole fabric discs. Denver Art Museum Neusteter Textile Collection. Gift of Vicki and Kent Logan, purchased in honor of Alice Zrebiec with funds from Nancy Lake Benson, 2015

This quilt, with compass stars, pinwheels and game boards, bears the colors of the Coldstream Guards, one of the regiments that comprise the personal troops of Her Majesty the Queen, and that is still in service today.

The main gallery area features 12 quilts made using the intarsia technique (pieces are placed next to each other and whipstitched together, so the front is often identical to the back), which was widely used in Central Europe.  As many of these quilts relate to the “Turkish Wars” of 1719  (Austria vs. Ottoman Empire) or the Napoleonic Wars of the early 1800’s, you’ll find several of them have images of soldiers, or the double-headed eagle, or other references to the Habsburgs and the Holy Roman Empire.  The room is dominated by a very large (approx. 9ft x 9ft) quilt stretched out parallel to the floor which features architectural images of the HRE, such as the Maison Carrée of Nîmes and the Spanish Riding School in Vienna.

detail, Hungarian Soldier’s Intarsia Quilt, artist unidentified, Austro-Hungarian Empire, 1820-30, wool with embroidery thread; inlaid; hand-appliquéd and hand-embroidered. Museum of Military History, Vienna

The central panel in this Hungarian Soldier’s quilt, made in the early 1800’s, includes hussar officers, a staff officer and a Hungarian magnate, framed by ten starry cartouches, each with a soldier in uniform styles that were popular in the 1820’s-30’s, and an outer border of pinwheels.

Military or Tailor’s Inlaid Quilt with Thistles, artist unidentified, Crimea or Scotland, ca. 1850-60, Suiting woolens, wool from military uniforms, embroidery thread, inlaid; hand-appliquéd and hand-embroidered. The Annette Gero Collection

The wall label conjectures that this quilt was made by an professional military tailor.  The thistles in the central panel indicate that its maker may have been with one of the Scottish regiments that  fought in the Crimean War. 

The last gallery contains 9 textiles…

detail, Regimental Bed Rug, Sgt. Malcolm Macleod (Dates Unknown), India, c. 1865, wool, mostly from military uniforms with embroidery thread; inlaid; hand-embroidered. The Annette Gero Collection

including this regimental “bed rug”, one of the rare pieces whose maker, Sgt. Malcolm Macleod, was identified.  As noted several times on this quilt, he served with the 72nd Duke of Albany’s Own Highlanders, a highly-decorated Scottish regiment – you’ll find references on this coverlet to the many places they served. The photo at the top of this article is of another panel from this quilt.

detail, Soldier’s Quilt with Incredible Border, artist unidentified, India, ca. 1855-75, wool from military uniforms, with beads; hand-applied beadwork and layer-appliquéd border. The Annette Gero Collection.

You’ll also find a quilt made in India whose outer border is exceptionally intricate – the three-dimensional effect is created by multiple layers of crimped cloth which were probably bits of fabric that were punched out when buttonholes were created. This piece bears the regimental colors of the 37th (North Hampshire) Regiment of Foot, stationed in India from 1846 to 1875.

detail, Colonial Soldier’s Intricately Pieced Quilt, artist unidentified, India, ca. 1890, wool from military uniforms, with metallic thread and sequins; hand-embroidered and hand-embellished. Laura Fisher’s Fisher Heritage, New York City

The complexity of this quilt suggests it was made by a professional tailor, who assembled some 25,000 tiny diamonds, hexagons and squares, with embroidered seams.  This photo is of the inner frame, whose corners are festooned with crowns, cannons and flags.

detail, Soldier’s Hexagon Quilt, artist unidentified, Crimea or UK, late 19th cent., wool from military uniforms. The Annette Gero Collection.

This late 19th century quilt is one of the most unusual in the show, and the only one to feature hexagons, the usual motifs being  squares, stars and diamonds.  Since its construction is very simple, this quilt might have been made by a soldier convalescing in a military hospital.

Solider’s Quilt: Square within a Square, artist unidentified, Crimea, India or UK, ca. 1850-90, wool, probably from military uniforms. American Folk Art Museum, Gift of General Foods, 1986

This quilt might also have been made by a convalescing soldier.  While the top right and left squares are identical, each of the others are slightly different.  Even though it dates from the mid to late 1800’s, this piece feels very op-art to me.

This is a very small sampling of the wonderful pieces in this show. 

There’s also a detailed  240 page catalogue that accompanies this exhibit.  The museum is offering lectures and workshops around this exhibit – you can find the full schedule here. 

War and Pieced: The Annette Gero Collection of Quilts from Military Fabrics was co-curated by Dr. Annette Gero, international quilt historian, author, and collector, and Stacy C. Hollander, Deputy Director for Curatorial Affairs, Chief Curator, and Director of Exhibitions at the American Folk Art Museum, and  organized by the American Folk Art Museum, New York, in collaboration with the International Quilt Study Center & Museum, University of Lincoln–Nebraska. 

The exhibit will be at the American Folk Art Museum until January 7, 2018.  However, get there now, as I’m sure you’ll want to go back.  More than once.  I did.

 

Editor’s note:  This post was edited on October 4th to correct the title of the exhibit; to include information on how the exhibit was organized and curated; and, in the photo credits, to add information on the ownership of the quilts.

Precious Little Talent – Theatre Review

Precious Little Talent program cover by StageLightMagazine.com

Ella Hickson’s Precious Little Talent, hailing from Edinburg and London, is making its New York City debut with a limited-run on the west side.

The play proceeds on two tracks – the first, a romance between Sam and Joey (whose real name is Joanna) who meet by chance and have a fling, but…  Sam’s relentless American optimism and Joey’s British cynicism collide head on, as do their realities, when Joey discovers that Sam is the caretaker for her father George, whom she hasn’t seen for several years.  While trying to decorate George’s apartment for Christmas, Joey discovers that her father – a former professor and the smartest man she knows – is suffering from Alzheimer’s.  What she can’t see is his private agony over letting the outside world, especially his daughter, know about his condition; his refusal leads George to push away the people he loves, and who love him.

Precious Little Talent  is chock-a-block with ideas:  in addition to its poignant depiction of dementia,  and its comic depiction of culture clash, the play also highlights the problems today’s recent grads have entering the workforce.  At times it seems to want to take a political turn – there’s a scene at the Obama inauguration that feels dropped in – but overall the play conveys how unsettled the world can easily become, and the consequences of our decision to share or not share our private struggles with others.

All three actors  – Connor Delves, Eliza Shea and Greg Mullavey give really fine performances.  The set, by Maruti Evans is quite imaginative.  Under the direction of George C. Heslin, the play moves along, keeping you engaged.

Precious Little Talent is playing only until September 30th at The West End Theatre, at The Church of St. Paul & St. Andrew, 263 West 86th Street.

Bamboo in the Big Apple

Japanese bamboo work is having something of a moment, with a major exhibition on this art form at the Metropolitan Museum of  Art.  Over at the Erik Thomsen Gallery you’ll find Masterpieces of Bamboo Art  a fabulous exhibit  of 30 Japanese baskets, all signed by their makers, and made in the last 100 years. Bamboo basket making originated in Japan in medieval times and baskets were first used to display flowers on Buddhist altars, then later in tea drinking ceremonies.  The baskets in this exhibit are primarily from three eras: the Heisei (1989 – present); the Showa (1926-1989); and the Taisho (1912-1926).  Executed in various shapes such as hexagonal, conical and round, the pieces all display the extraordinary craftsmanship and artistry of the basket makers,  especially in their range of weaves (or plaits) which include lozenge technique, circle plaiting, and twill plaiting (herringbone effect).

Handled Flower Basket in the form of a gourd, Maeda Chikubōsai, Showa era (1926-89)

The main body of this basket by Maeda Chikubōsai is executed in a variant of mat plaiting, using double horizontals and creating an intricate undulating surface. There’s elaborate knotting on the branches which form the handle, and around the rim.

Auspicious Clouds flower basket in Chinese style with small handles, Suzuki Kyokushōsai, Taisho era (1912-26)

Auspicious Clouds, by Suzuki Kyokushōsai exhibits a number of elaborate plaiting techniques, including hexagonal and circular (base) as well as wrapping and knotting. 

Tall Handled Flower Basket, Wada Waichisai II, Taisho era (1912-26)

Wada Waichisai II was the second in a lineage founded by Waichisai I (1851–1901), one of the pioneers of bamboo art in the Kansai region.

Connection, Tenabe Chikuusai IV, Heisei era (1989-present)

Tanabe Chikuunsai IV was born in 1973 to one of Japan’s most prestigious families of bamboo craftsmen.  He is the chosen son, representing the fourth generation of bamboo artists in his family. It’s easy to see why – his technique is fabulous. He also created a site-specific sculpture for the Met show.

For this exhibit, the gallery has also commissioned a detailed catalogue  with lovely photos of the works.

The exhibit continues through November 10th.  Erik Thomsen Gallery  is at 23 East 67th Street.

Austrian Wild West

Untitled (Franz West), Rudolf Stingel, 2010, ink, oil and enamel on paper

The Austrian Cultural Forum is hosting a new exhibit, Wild West, featuring the work of Austrian artist Franz West (1947-2012).   Rejecting formalism and fine art traditions, West used ordinary materials, such as plaster,  papier-mâché and aluminum to create his sculptures.  Influenced by performance-based art, he wasn’t interested in the final work so much as the idea of creating a dialogue between the viewers and objects in a given space. 

Since I wasn’t familiar with West’s work, I was delighted to attend a conversation with Andreas Reiter Raabe, the exhibit’s curator (and West collaborator), and Alison Gingeras, a curator and writer.  During their talk, a recurring theme was the collaborative nature of much of West’s art, including his decision to include other artists in his “solo shows.”  The exhibit continues in this vein – there are three pieces by West, with the rest by West’s New-York based contemporaries, as well as newly commissioned works by Austrian and New York artists.  There’s also a film about West (by Raabe), who seemed to delight in thumbing his nose at the establishment (in the film you’ll see the brightly colored phallic sculptures he used to replace the hood ornament on his Rolls Royce).  Here are some of my favorite works from the exhibit:

Untitled, Tillman Kaiser, 2016, cardboard

Tillman Kaiser was born in 1972 in Graz, Austria.  He now lives and works in Vienna.  I especially liked this work, composed of cardboard pieces with a series of…

detail from Untitled by Tillman Kaiser, 2017, cardboard

unrelated black & white images that are constantly rearranged one over/next to the other. It made me think of the houses we used to try to construct from playing cards.

Reconstructions/Symmetry Fragments, Rudolf Polanszky, 2009, mixed media (foil, mirror strips, aluminum and color on linen)

The Viennese Actionist and Post-Actionist artist Rudolf Polanszky worked alongside Franz West.  The images in his Reconstructions/Symmetry Fragments are not apparent the first time you look at the pieces (there are 2 in the show), but emerge slowly as your eyes move across the canvas.

Lemurenkopf, Franz West, 1987, papier-mâché and dispersion

According to one source I found, the title of this piece by Franz West, Lemurenkopf or “lemur heads” is derived from a common Viennese phrase, and means to wake up with a hangover after a festive night of drinking and seeing “Lemuren”, or zombies. I may need to go to Vienna and verify this personally.

Fleur Mal, Franz West & Andreas Reiter Raabe, 2012, LED lamp, papier-mâché, cardboard, acrylic and metal chain

In the lobby of the Austrian Cultural Forum you’ll find these two fun sculptures by Franz West and Andreas Reiter Raabe.  If you stand below them and clap your hands or stamp your feet, the lights will blink and change color!  

Wild West will be on until January 22nd, 2018.   The Austrian Cultural Forum is located at 11 East 52nd Street.

Governors Island Wonderful Art Show

Visual Playground 2, Marek Jacisin

Once again, the annual art fair on Governors Island, organized by 4heads has lots to offer. Featuring work by 100 artists from the US and abroad, spread across five buildings in Colonels Row, as well as in the windows of Ligget Hall, and on the lawns between them (like Marek Jacisin‘s piece above), this show contains many, many fine works. Very often the artists are also present, so you have a chance to talk with them.  The styles and techniques are quite varied, so look in each room – even if you haven’t found something you like on the first floor of a building, go up to the second floor – I guarantee you’ll find something completely different. Leave yourself plenty of time to explore this exhibit. Here are some of my favorites:

Royalty, Zeren Bader, 2014, archival print on metallic paper

In Building 404B, Zeren Badar has created a series of 23 imaginative and fun photos, entitled Messing With Old Masters, in which he takes images of old paintings and embellishes them with objects such as eggs, or macaroni, or rubber bands, then photographs the new image, which, by throwing you off balance, makes you look at portraiture in a new way! 

Anna Cone and Zeran Bader

While I was talking with Zeren, another artist, Anna Cone, whose work is in the next building, and explores similar themes, came in to see Zeren’s work. (more about her work later)

Portrait of Shirley Chisholm by the Lower East Side Girls Club

On the second floor, the Lower East Side Girl’s Club was exhibiting prints of Women who Change the World, a mural created on the walls of the First Street Garden in 2011 by teenage Girls Club members and artists who painted portraits of 19 women who inspired them, including Justice Sonia Sotomayor, Dorothy Day, Shirley Chisholm, Rosa Parks, and Congresswoman Nydia Velazquez.

Spatial Magnetic Field Visualization, Inhye Lee and Hyomin Kim, interactive installation

In Building 405A, the scientific-based art collaboration of  Inhye Lee & Hyomin Kim have two pieces in this show that reference the earth’s magnetic field.  The Spatial Magnetic Field Visualization above consists of about 100 ball compasses inside transparent globes – the black and white on the balls indicate their polarity, mimicking the magnetic files around the earth. (They have a printed sheet with a more detailed explanation). They also have a Magnetic Field Drawing Station which is pretty cool. 

Fire, by Richard Sigmund

On the second floor you’ll find Fire by Richard Sigmund, a series of drawings that are variations on this word.  Richard had been intrigued by all the “fire” signs that are painted on the roadbeds in New York.  On a visit to India, he thought about this word, which can represent purification, death and emotions, and so each day he did a sketch of the word “fire”. 

Pink Collar Worker, Paola Citterio, metal chain with wool fibre

On the porch of Building 406 B, you’ll find a wonderful work in metal chain and wool by Paola Citterio, but it was her Pink Collar Worker inside that grabbed me, having worked many years as a secretary.  Paola made this piece using a baby blanket she found (it made her think of Vivienne Westwood) to which she added the metallic chain and the wool fibre lettering.  Paola dyes her wool, and felts it using a needle felt technique, which takes hours – but for her, the process is part of the art.

Anna Cone installation

On the first floor, Anna Cone has created a version of a salon/drawing room, filled with portraits of Disenchantresses, large scale modern nudes styled as goddesses, set against collaged images from Old Masters paintings, placed in antique-looking frames.  Using her background as a fashion photographer, Anna’s work pushes back against the images of “acceptable” women’s bodies that we’re saturated with, to include others that might be considered more “unconventional.”  Be sure to look at the chairs, which also contain collaged images from Old Masters.

Allison Sommers in her installation

In Building 407A, Allison Sommers has created a room that addresses movements in a domestic household, and the anxiety around house-making when you find yourself suddenly plopped somewhere.  I was not surprised when she told me she’s a military brat.  Allison offered no more by way of explanation of her installation, saying that she wants to leave it open to the viewer’s interpretation.  I confess I found her piece challenging, but I could relate to it on many levels.  Check it out!

Loteria de la Migracion, Tabla 2, Richard Fleming

In Building 408A, Richard Fleming has created a wonderful project, Loteria de la Migracion,  centered on migration from Central America. He has taken the Mexican card game Loteria and re-imagined each of the 54 cards as a series of obstacles and challenges facing migrants fleeing violence,  sometimes changing the images (i.e., a pear in the original Loteria becomes grapes in his version).  This project is based on his experiences as a sound recordist working in Chiapas.

Vornado, HYSTM, acrylic on wood

HYSTM is really two people: the New York-based art tag team of Keith Pine and Rich Zitterman, who work as one.  I spoke with Rich, who told me that either he or Keith will start a painting, then the other will add to it, and they will keep on this way until they think the work is done.  By the end of the process, neither one knows who started it, and often can’t remember which are their own contributions.  Rich said they get their inspiration from what’s around them, whether that’s TV or found images or their own imaginations. 

There’s much, much more to see.  The exhibit is open only on the weekends and only through October 1st.  More information on the ferries to Governors Island here .

Looking towards Brooklyn from Governors Island

Rebel Clay at Cavin Morris

Earlier this month, Cavin Morris Gallery opened a new exhibit, Rebel Clay, featuring some 60 non-mainstream ceramics.  The works were rendered in a wide variety of styles – whimsical, utilitarian, spiritual – with finishes that range from unfired natural clays in browns and grays to highly glazed, brightly colored pieces.  Below are some of my favorite pieces:

Shekinah, Straiph Wilson, 2016, ceramic

The show contains several highly glazed and brightly colored ceramic fungi by the Scottish artist Straiph Wilson.

Black & Blue #15, #13, #14, Kevin Sampson, 2017, porcelain, canvas, wood

Kevin Sampson, a self-taught artist and former police officer creates works that often address issues of social justice and cultural resistance. This piece made me think of the Nina, Pinta and Santa Maria, whose arrivals are the subject of much debate these days.

Untitled, Nek Chand, 1950-1980, concrete over metal armature w/mixed media

Nek Chand is known for his huge environment in Chandigarh, India with its thousands of expressive figures and exquisite architecture. I found this man he created from concrete absolutely irresistible, and so full of energy!

Seated Figure, Burgess Dulaney, ca. 1970-89, clay and marble

There’s something very appealing about Burgess Delaney’s Seated Figure, made from unfired clay from near his home in Mississippi.

Untitled (Head), Kazumi Kamae 2004, shigaraki stoneware

Kazumi Kamae was one of four Japanese Art Brut artists the gallery discovered when they visited the Yanomami Art Center near Shigaraki Prefecture in Japan.

Mask from Nepal, early 20th cent., cow dung, clay, organic materials

On one wall you’ll find five masks from Nepal, created in the early to mid-20th century using cow dung and clay.

This is a small sampling of the ceramics in this exhibit, which will remain up until  October 7th – but don’t wait until then to see it.  Cavin-Morris is located at 210 11th Avenue, Suite 201, in Chelsea.

Bronx Artists Residencies Exhibit

This summer, the Bronx Arts Space offered residencies (6 weeks studio space and a $500 stipend) to a group of six artists.  At the end of August, they held an exhibit of projects this inaugural group had worked on during their residencies. I had a chance to speak with three of the artists, and I definitely want to continue following their work.  Here’s why:

untitled, Alexis White, book pages and crayon

I was very attracted to Alexis White’s book-based work.  Against one wall were several works featuring  strong geometric patterns with vibrant colors – on closer inspection, these figures were drawn in crayon on the pages of a book.  Alexis began this series when her father, who works at a psychiatric facility, came home one day with a psychiatric book about “Children of Color.” 

Untitled, Alexis White, mixed paper and book collage

She also created a second collage series using pages from a found book (Les Etoiles by Alfonse Daudet), on which she pasted images cut from magazines.

Melissa Calderón’s embroidery art grabbed my attention immediately – it turns out her grandmother is a seamstress.  Melissa employs unconventional surfaces, such as wood, to create her sculptural embroidery pieces. Her work covers a variety of social issues, from the environment to housing. 

The Arctic Meltdown, Melissa Calderon, 1979-present, thread and wood

Against one wall is a series of 8 pieces, which show how the Arctic ice has been melting since 1979 and will continue to shrink through 2035, based on the Arctic Climate Impact Assessment from the National Snow and Ice Data Center.

The Bronx Housing Court Monster, embroidery on linen, Melissa Calderón

I especially liked The Bronx Housing Court Monster – the title and the image say it all!

 

diarama of room in Harlem with videos of Shilo, OH by Erica Bailey

Erica Bailey’s dioramas deal with transience and impermanence.  She exhibited two rooms: one a recreation of her childhood room in Shilo Ohio, and the other, her first studio apartment in Harlem. As the artist noted, she wasn’t the first person to live in these spaces, and she won’t be the last.  In the “windows” of each room are street scenes from the other location, demonstrating their connection despite their differences.

I’m looking forward to seeing what comes next from these three!

Ikebana at the UN

The Japanese Mission to the United Nations  has hosted a series of events with the theme “Peace Is…”  using art and culture as a medium for connecting people with the UN and its objectives.  The Permanent Mission of Japan has collaborated with Japanese artists residing in New York, who believe in the power of art to bridge divisions and bring people together. 

In celebration of the 50th Anniversary of ASEAN, “Peace Is Beautiful” guided the activities of this fourth event, which included a demonstration of Ikebana, led by Master Noritaka Noda of the Ikenobo Society of Floral Art. More than flower arranging, Ikebana is an elevated art form in Japan, using plants to create new forms suggesting the forces of nature and the beauty of longing in our hearts. Working with two assistants, Master Noda began with the tall leaves, then the flowers (coxcomb and iris), then the smaller leaves and finally the ferns, selecting, trimming, placing and bending them…

Noritaka Noda explaining his Ikebana arrangement to Hajime Kishimori

into an arrangement representing mountains, cascades, a town, a river and the beautiful landscape.   Afterwards, the ambassadors from ASEAN and the other guests were invited to make our own flower arrangements, assisted professional Ikenobo teachers. 

Liz Daly and Hitomi with their Ikebana

I was lucky to have the guidance of the very patient and gracious Hitomi, who helped me create this piece.

Dancers from ASEAN countries performed at Peace Is…

Attendees were also treated to a lovely performance of traditional dances from Cambodia, Laos and Indonesia.

Congratulations to the Permanent Mission of Japan for this excellent initiative!