Hasui's works are predominantly dark, cold and snowy with decent amount of exceptions which to me are actually emphasizing dark pieces or vice versa.
In the darkest time of the year, I'm discovering a new direction, or rather long forgotten trajectory.
My grandmother (as well as my mother) was a Ikebana teacher certified by the grandmaster of Ohara school of Ikebana. Grandma ran a studio at my home to teach Ikebana, and although I never became my her student, I was oriented to the studio full of her disciples and their study works, and the meditative attitude and discipline.
Unlike other older schools of Ikebana, Ohara school of Ikebana is a fairly new school, established after the end of Edo period. So, its style is less traditional to deal with "newly introduced" western flowers and plants at that time. Accordingly, there are more variations in format of compositional perspectives.
I wonder how much I was influenced to interpret ordinary or obscure scenes with such perspective format. I thought I already became aware of such thing during my study years in Norway, but it seems that it is still far beyond my conscious mind that actually frames my photographic compositions.
Around the Harbor of Hayakawa 2005
