Japanese Hideyuki Niwa grew up surrounded by flowers. Familiar from an early age with their qualities, vulnerabilities and potential, a career as a floral designer was a logical next step. At the age of 20, he graduated from Tokyo’s Flower College, which immediately opened doors at Kamon Flower Gate Co Ltd; a rich and fertile working environment where his talent only sharpened.
In Transparencies, transparency – in the broadest sense of the word – is the key concept. Mit Ingelaere approaches this theme from four different angles.
The first section focuses on the transparency of the natural elements she uses in her arrangements. Their transparency can be inherent, but is sometimes also created by their place in a work. The second section focuses on the transparency of the containers in which her works are presented. Glass is of course the most obvious: it is in itself a translucent element. But Plexiglas is also discussed, because it conducts light and colour. In the third part, Mit invites eleven international friends to express their views on transparency. We are introduced to works from the Netherlands, Belgium, France, Great Britain, Italy and Japan. In part four she creates her works in harmony with some pieces of glass art. The Design Museum Ghent made its collection available for this purpose and several big names collaborated, including Menno Jonker, Inge Panneels, Peter Bremers, Jan-Willem van Zijst and Koen Vanderstukken.