FOR THE REAL PLAYERS

The last three sections of our Virtual Show are dedicated to those who like to fool around and experiment with 'alternate' additives for their floral art experience.

CLASS 35  -  FELT IT    (FINAL CLASS)

A DESIGN WHICH VISIBLY INCLUDES FELT. 

HOWEVER, THE FELT MUST NOT DOMINATE.

Felt is a great floral accessory. There is an eco variety made from bamboo, so I guess it could be considered a plant material too.

Just be careful with all these new things that are considered plant materials - papers, cardboard, sisal, jute, processed woods etc. I'm all for extending the range of what we can work with and the scope of what we can do (don't get me wrong) BUT we need to keep living plant materials at the forefront of our work (not necessarily as the dominant component all the time) as that is our craft. We are not carpenters, wireworkers, origami superstars, knitters, crochet queens, lacemakers etc. etc. We are floral artists. What we can do with obvious plant materials, we should.  Kim Zimmerman

1ST  -  PREETI SARDA  INDIA

The Judges comments  :   A lovely contemporary design with good use of colour, texture, form and space. The lower placement of felt technique is a little too large. Perhaps, taking it back to three lines of the pattern would improve the balance. The design could also be enhanced by the use of a lighter coloured back ground. However, this piece is extremely well executed. Well done! (Australian judges)

A lovely design creating a very classy flow of movement. Felt has been used most effectively. It is a pity that the ends of the structure are cut off so abruptly.   The aspidistra placement is very detracting, holding the eye and eliminating the depth created towards the back of the design. (South African judges)


FAIEZAH  SHAHID PAKISTAN

The Judges comments  :  A very clever idea to create a felt box with holes at strategic points.  Interesting movement and playfulness is achieved with the stems woven through the holes. This design has great class value but it is a little bit busy and has too many placements of chrysanthemums. Remember - less is often more. (South African judges)

A creative interpretation. Great use of felt but attention to detail in the cutting out of circles and square edges is required. Tying of wire needs to be neater. The box needs to be on a taller pole for the size of the box and base. The colour choices are pleasing along with the staging of the design on the marble base. The green stems provide lovely rhythm between floral placements. (Australian judges)


3RD  -  LEA ROMANOWSKI   CANADA

The Judges comments  :  A very pleasing, neat vertical design which shows good use and choice of colour and plant materials. The tubes have been well placed and covered with felt. The base of the stand (wooden block) could have been painted or covered in the same apricot felt. Plant material placed upside down is always risky. In this design, the pincushions appear wilted. It sometimes occurs because of an air bubble in the test tube. (South African judges)

An interesting, exciting design that is well staged. There is good repetition in colour, space, line and form. The technique of covering the phials in felt has been neatly done. A very good background enhances the design. (Australian judges)


HIGHLY COMMENDED  -  PRIYA SHAH  KENYA

The Judges comments  :  A lovely, original idea that uses felt creatively with plant materials. The choice of colours of the felt is appropriate but remember that felt is generally made from wool and plant material needs to predominate in a design. Better placement of the lovely 'Green Goddess' arum lilies would have been advantageous. The spider plant (chlorophytum comosum) could have been placed more playfully towards the front of the design to add depth and movement. The stand is also very dominant and should be painted the same colour as the background. (South African judges)

An interesting design but the felt totally dominates the plant material. Break up the strong use of felt by giving the Green Goddess lilies and spider plant more prominence. Perhaps follow the felt circle with a circle of line material to create more contrast and movement. The use of colour in this design is to be commended. (Australian judges)


COMMENDED  -  KAREN OLIVIER-RAUTENBACH GBU SA

The Judges comments  :  The concept of the design has worked well and good colour choice is evident. However, workmanship needs improvement. Remember scale: the xanadu leaves would be better used if placed lower down in the frame. They are creating a balance issue. (Australian judges)

A pleasing design which uses a screen covered in felt. The holes in the felt and the baubles of felt are very effective and create depth and texture respectively. The choice and amount of of plant materials used is successful. Orchids could be placed upside down to achieve their best effect facing the viewer. The xanadu leaves are just too small. (South African judges)


COMMENDED  -  NORA LAWTON IRELAND

The Judges comments  :  A lovely cascading design using felted leaves. The creative leaves and the use and choice of plant material is very pleasing. The top placement could be more modern to show off the stunning felt leaves. Be careful of placing flowers in a diagonal line which pulls the eye away from the overall cascading line. Paint the base of stand the same colour as the table or base of background. (South African judges)

A colourful design. The shape and size of felt would look interesting with a strong dominant form to contrast it well.  There are too many flowers of equal size and form in the roses and tulips. Yellow is very luminous in this design and the yellow tulips are placed an equal distance apart. They could make a strong focal point if grouped. It is a pity that the curve of the cascade is not more carefully followed by all plant materials in this design. (Australian judges)

OTHER ENTRIES

 

ALMA BADENHORST    SA

COBUS CONRADIE    SA

ENA HUME    SA

FARIDA KALIM  PAKISTAN

HINA KAMRAN PAKISTAN

MADHU SHAH  AUSTRALIA

MARIE CLAASSEN    SA

MARLA CHERNHOFF  CANADA

MEENA SHAH   KENYA

QURRAT-UL-AIN  AAMIR  PAKISTAN

SAJEELA  AFZAAL  PAKISTAN

SHARON O'SULLIVAN     IRELAND

SHIRLEY GILBERT   IRELAND 

YASMIN  SOHAIL  PAKISTAN

 

CLASS  34  -  PUZZLED

A DESIGN TO INCORPORATE PUZZLE PIECES

 

This class required competitors to use puzzle pieces in a floral design. All very legal as puzzles are generally made of hardboard or wood and are thus considered as plant material.

I really wanted to enter this class and build a fabulous structure from puzzle pieces - but I never got round to it.  Thirteen competitors all took quite different approaches.  Enjoy the designs. Kim Zimmerman

 

1ST  -  RENEE CALDER    SA

The Judges comments  :  A beautifully constructed, tidy design with excellent use of space and dynamic use of colour. The puzzle components are put to good use and the puzzle flowers are very competently made and placed refreshingly well. (South African judges)

A creative, innovative design where the use of shape, balance, colour and rhythm are excellent. Repetition of form is well achieved. The puzzle pieces give excellent texture to this piece and the puzzle flowers are most effective. This design relies on the puzzle pieces to tell its story. Well done! (Australian judges)


2ND  -  PRITESH SHAH  KENYA

The Judges comments  :  Puzzled indeed! A well-constructed, three dimensional structural design with good placement of plant material and other components to tell the story of this theme. A design of distinction. (South African judges)

This is a clever and innovative design which shows exceptional use of colour.  There is good repetition of colour and form which introduces rhythm into the piece and superb use of contrasting heavy and light materials.  The work done to link the container to the design is sublime.  However, the design appears to be off balance because of the placement of the top left triangle.  Perhaps moving the top elements to the right would help a little.  (Australian judges)


3RD  -  JAN DE BEER    SA

The Judges comments  :  This exhibit is pleasing to the eye, with a variety of components to depict this class theme. The bottom placement of puzzle pieces could have been stronger or totally omitted. (South African judges)

This design has good rhythm and colour harmony.  More jigsaw pieces and a grouping of large yellow flowers is a recommendation, rather than scattering the plant material placements throughout the design which has created a very symmetrical shape.  (This may involve creating a more complex, impactful stick structure underneath).  As this design stands, it is cluttered on the left and the placements at the base are too even and predictable.  (Australian judges)


COMMENDED  -  LEA ROMANOWSKI    CANADA

The Judges comments  :  A fresh arrangement with puzzle pieces used in a glass container with clear water. More puzzle pieces throughout the design would have added greater class value. (South African judges)

This is a creative and well-staged design. The use of the clear container enhances the colourful jigsaw pieces. Good use has been made of rolled leaves to create another 'puzzle' element. However, there appears to be little relation between the top of the design and the bottom. Bringing the yellow up into the top and restraining the wayward leaves may help a little. (Australian judges)

 

DURBAN FLORAL ART CLUB MEMBER ENTRIES

PATSY NAIDOO

 

OTHER ENTRIES

ALMA BADENHORST    SA

BEVERLEY BUTTIMER  IRELAND

JACKIE THERON    SA

JANE MERRIMAN  UK

KATHLEEN DEAN   UK

LIANA SMIT   SA

NICOLA ROBSON   UK

 

PRIYA SHAH  KENYA

 

CLASS 33  -  INSPIRED BY LEGO

If you think there aren't flowers available in Lego, you'd be wrong. In their efforts to gender neutralise all toys, Lego has gone pink, purple and, even, orange and you wouldn't believe what's available now - from pizza slices, to hairdressing salons to a very 'glampy' camping set to 'all creatures great and small' and humans whose hairstyles you can change at will.

My most testosterone fuelled son says, 'No self respecting boy will play with Lego now. What happened to the days when you just built stuff? This is why we play computer games all day.' He does lack a certain refinement, it must be said.

Anyway, how easy is it to incorporate Lego into floral art? Well, for starters - you didn't have to. You could have come up with something that looked like Lego and used that instead.

Lego is small (unless you get hold of some Duplo blocks - a bigger version of Lego for smaller kids) so, if you were going to use it, you either had to scale your work down or build some sort of superstructure. (But, the Lego couldn't predominate in the design, either.)

If you don't have kids, you don't have Lego and its not the kind of thing you want to rush out and buy. The 'real thing' is exorbitantly priced, to put it mildly.

With all these issues, it is not surprising that there were only twelve entries in this section. But there are quite diverse and interesting approaches - and, if we don't play, we don't experiment and grow. So enjoy!! Kim Zimmerman

1ST  -  PRITESH SHAH  KENYA

The Judges Comments  :  A great interpretation of the schedule in a very well executed design. Good rhythm and use of colour. (Australian judge)

An exciting contemporary design with well integrated components and a good balance between plant material and Lego pieces. A superb interpretation and chockful of interest - 'playful' as per the class brief. Excellent incorporation of contemporary elements – e.g the corrugated cardboard with cut-out circles echoed in the circular wooden discs. There is a fabulous repetition of forms and colour ensuring excellent rhythm and great use of space. A super well-balanced design that has been brilliantly executed. (South African judges)


2ND  -  ISOBEL GROBLER    SA

The Judges Comments  :  A striking design that pops with colour. The superb lighting brings out the vibrant colours of the Lego bricks and gerberas – and the fabulous blue frame. The two informal (yet skilfully assembled!) 'higgelty piggelty' Lego placements are delightful, bringing out the playfulness of the theme. This is further emphasised by the loose curving plant material linking the two placements which adds the a spatial dimension. A well presented eye-catching design. (South African judges)

Good interpretation and use of colour. The visual balance is a little out – make sure there is a definite difference with the 3:5:8 (Golden Mean) rule with colour and scale i.e. the right hand side cluster could have been slightly smaller to create more impact on the focal area on the left. Lovely rhythm is created with the liriope leaves. (Australian judge)


3RD  -  GRETA FOURIE    SA

The Judges Comments  :  A lovely design with fabulous contemporary flower towers creating an impression of interlocking Lego bricks. Lots of playful interest and good strong vertical lines. The vibrant yellow gerberas add movement but may have been better placed, perhaps, to follow the vertical line. More more internal space - especially in the lower half - would have enhanced the design further. It is, however, a very pleasing arrangement, full of fun, and well interpreted. (South African judges)

A contemporary design with some traditional placements, especially the gerberas! Good interpretation of the schedule is evident as well as very neat workmanship. (Australian judge)


HIGHLY COMMENDED  -  KIM ZIMMERMAN  UK

The Judges Comments  :  Congratulations to this arranger on deviating from standard Lego bricks and taking her inspiration instead from City-Scapes in the Lego Architecture range which is ideally suited to a parallel style. In this context, the design is both original and an outstanding interpretation. The static city-scape is softened by swirling plant material suggestive of Lego Land themepark rides which introduces wonderful movement. And while the angled placements of leaves add a geometric touch in keeping with the original Lego sets, the design could perhaps be enhanced by the addition of more vibrant colour. Very good – thought-provoking and original! (South African judges)

This design shows good use of colour which could have been improved with some repetition/grouping i.e. of the orange and red. Great rhythm is created with the vine stems. (Australian judge)

OTHER ENTRIES 

ALTHEA HIGHAM    SA

ANITA JORDAAN     SA

LANNY PRAMANA  AUSTRALIA

LEA ROMANOWSKI   CANADA

LINA BRUMMER     SA

LIZ TUSTIN    SA

MARLENE TAMBRE  CANADA

RHUKHSHANA RATTANSEY  PAKISTAN

 

 

 


FOR THOSE WHO LOVE TO GIVE THEIR ART CONTEXT

CLASS 32  -  A DESIGN TO BE PLACED IN A SETTING THAT GIVES IT

APPROPRIATE ATMOSPHERE AND MEANING 

THIS DESIGN MUST BE GIVEN A TITLE

1ST  -  MARJOLIJN MALAN   SA

CANOLA FIELDS FOREVER

The Judges comments  :  A lovely setting that definitely goes on 'forever'. The inclusion of some chrome yellow in the floral design would have given it more impact and a stronger 'canola' connection. (South African judges)

An exceedingly notable composition that draws your eye into the design and beyond into the landscape. The competitor has an inspiring grasp of nature’s patterns and rhythms and is able to move the eye from the bottom to the top of the design. There is masterful use of colour and texture in this distinguished and original design. This is an amazing piece of land art and an excellent execution of the class and overall theme. (Canadian judges)


2ND  -  GERDA STOLS   SA

JEWELS FROM THE SEA

The Judges comments  :   A fabulous atmosphere is created by this design in its beach environment. The two large spathes are well proportioned to the vast surrounds. The 'jewels from the sea' are somewhat lacking and while the lilies are beautiful, their fragility is somewhat … 

This moody atmospheric design effectively interprets the theme of its title. The skilful placement of distinct textural materials creates drama and indicates a meticulous attention to detail. However, rhythm is stopped at the centre of the design due to the gap in plant material causing a lack of transition from one area to another. (Canadian judges)


3RD  -  PRITESH SHAH  KENYA

NESTING IN AN ODDBALL SLING

The Judges comments  :   There are great lines, forms and textures in this fun design. However, the positioning of some of the nests and spheres are creating a confusing effect. (South African judges)

A creative approach to a highly textural design and a very interesting technique of using spathes as slings. However, the placement of the different components affects the dimensionality and depth of this design. Although the background contributes to providing the in-place-setting, it confuses some of the design elements. (Canadian judges)

 

OTHER ENTRIES

CATHERINE VAN BEVEREN   CANADA

MOONLIGHT SONATA

CHRISTA JACQUIRE   SA

ROMANTIC FREEDOM

EDITH RULE    SA

WELCOME TO SUMMER

FAREEDA NISHTAR  PAKISTAN

VIVRE

FEHMIDA HASHMI  PAKISTAN

SOLITUDE

LOUISE COMBRINCK    SA

HARMONIES

MEENA SHAH   KENYA

PICNIC IN PARADISE

RINA MARIA SCHEPERS    SA

GIRLS NIGHT OUT

STEF BORCHARDS   SA

TANTALISING TEXTURES

SUNA MALHERBE   SA

HORIZONTALLY IN NATURE

 

 

CLASS 31  -  A DESIGN TO INCLUDE A DISH/PLATE/PLATTER WITH A COLOURFUL PICTURE

ON IT.  THE PLATE MAY BE PLACED IN THE DESIGN WHEREVER AND HOWEVER YOU WISH. 

IT MAY PREDOMINATE IN THE DESIGN

 

1ST  -  GAIL TAVERNER ECFAA  SA

The Judges comments :  What a brilliantly executed design which uses such unusual colours. The plant materials also complement the dish and give it great dimension. Well done! (South African judges)

Congratulations on producing a superb exhibit full of atmosphere and style. Every element and principle of design has been successfully exploited, resulting in a stunning piece of contextual work. (U.K. judges)


2ND  -  EILEEN O'BRIEN   IRELAND

The Judges comments :  The background design created for this plate has been well executed and it has wonderful movement. The plate has been so cleverly complemented. Well done! (South African judges)

Beautiful colour harmony and clever blending of a traditional plate with a contemporary design. Exceptional selection of components, placed and arranged with flair. A crease in the background sisal paper slightly spoils the overall staging and presentation. (U.K. judges)


3RD  -  ZARIN PATEL  PAKISTAN

The Judges comments :  A lovely, skilfully finished design which complements the plate to perfection. There is such good harmony between colours of plate and plant materials chosen. Well done to the designer. (South African judges)

An immaculate and stunning exhibit. Very clever incorporation of all selected components and very evocative of the far east. Well done. (U.K. judges)


VERY HIGHLY COMMENDED  -  LEA ROMANOWSKI CANADA

The Judges comments :  An innovative design with superb use of bold line. Great balance has been achieved with the top orchid balancing the black pot. The plate is cleverly placed. Perhaps a touch of white plant material would be the icing on the cake. (U.K. judges)

This is a very well executed design. The strong diagonal line of equisetum repeats the strong line of bamboo on the dish. The screen (photograph?) of the orchids on the plate is disturbing even though it does repeat the orchids placed at the top. We feel it could be omitted. (South African judges)


HIGHLY COMMENDED  -  MARIEKE RIC HANSEN KZNAFA    SA

The Judges comments : A pleasant design using two woven dishes in vibrant colours and very appropriate complementing plant materials. Well done to the designer. (South African judges)

An exhibit which shows very sensitive colour handling and delightful rhythm. The chosen flowers make a subtle, yet striking, addition to the dishes. A few marks on the inner plate mar the overall finish of the design. (U.K judges)

 

DURBAN FLORAL ART CLUB MEMBER ENTRIES

PATSY NAIDOO KZNAFA   SA

OTHER ENTRIES

AMOS RUDDEROW USA

ANETTE BADENHORST KZNAFA   SA

EDITH RULE     SA

FARRAH AZAM  PAKISTAN

HENRIETTE LOUW       SA

JAN DE BEER   SA

LANNY PRAMANA   AUSTRALIA

LIL TAGGART   CANADA

LOUISE COMBRINCK    SA

MARIE CLAASSEN    SA

MARTIE VAN ROOYEN   SA

MARY MANN      SA

NABILA SHAH PAKISTAN

NAMITA SHAH KENYA

PARVANA MAQSOOD  PAKISTAN

RINA MARIA SCHEPERS    SA

RUKHSHANA QAYYUM  PAKISTAN

SILVANA CROCE   CANADA

WIQARUNNISA BOOLANI  PAKISTAN

YASMIN SOHAIL   PAKISTAN

 

 

FOR LOVERS OF ARTISTIC INTERPRETATION

 

CLASS 30  -  'ON EARTH, THERE IS NO HEAVEN BUT THERE ARE PIECES OF IT' JULES RENARD

Interpret the following quotation in a piece of floral art: 'On Earth there is no heaven, but there are pieces of it.' (Jules Renaud)

So this section is basically about contrasts. It is about finding a diamond in the rough, seeking beauty in the wilderness and taking lemons and making lemonade.

Yes, we live in a tough world but there is beauty everywhere if you look for it. And it really isn't that hard to find - and it costs nothing but time and attention.

Survivors of terrible traumas usually tell the same story - they have kept going because of small acts of wonder - a ray of sunshine, the sight of a spring flower, the smell of rain. These are pieces of heaven. Kim Zimmerman

1ST  -  AMELIA LOUBSER  OBU   SA

​The Judges comments :  An outstanding and superbly composed cascade. Clever choice and placement of plant material creates exciting rhythm and movement with a variety of form, texture and colour. (Canadian judges)

This is a beautiful display of heaven on earth. There is a lovely choice of fresh plant material and colours are well balanced. Interest has been added with the cut green threaded stems hanging down on the left which complements the green amaranthus on the opposite side. The clever detail of the curved dark purple calla lilies to mirror the curve of the open framed ball armature is excellent. Well done.(South African judges)


2ND  -  AMAL UPPAL  PAKISTAN

​The Judges comments : A delightful design with wonderful fresh poinsettia and other plant material creating exciting rhythm. The placement of the bulk of the greenery at the top of this piece interrupts the line and stops the eye. (Canadian judges)

This is an interesting interpretation of the title. It has a strong eastern influence with the back screen and table. (Maybe the photograph should not have been taken at such a downward angle as it reveals too much of the surface of the table.) The piece of wood has fabulous movement that has been emphasised by the placement of the poinsettias. The left brassica (ornamental kale) is blocking the shape of the wood and it may improve the balance if it was receded into the space a little more. The colour of the kale ties in well with the Chlorophytum (hen and chickens), but the front leaf (on the right) distracts from the curve created and is not necessary. (South African judges)


 

3RD  -  NUZHAT SAIEED SARGANA  PAKISTAN

The Judges comments :  An original design with an amazing choice of different varieties of plant materials. Their placement, and some repetition of texture and forms, creates exciting rhythmic movement and great contrast. This is an impressive interpretation. The grey stone in the middle dominates the design, however. (Canadian judges)

An unusual approach to the interpretation. Although the design is dominated by the smooth stone, it is acting as a nucleus which anchors the light branches and threaded seedpods which in turn are taking the eye through the design and ending in a little 'piece of heaven'. Well crafted dried leaves, which have been layered and pinned, add to the interest. The corn cobs add a surprise element and lovely enclosed space has been cleverly used to balance a design with a heavy base. Maybe a little more soft green fern laid over the stone would soften the effect. (South African judges)

 

OTHER ENTRIES

ELIZE GOETZE    SA

FRED DU PREEZ    SA

JAN VENTER    SA

LIZ BETTON   SA

LYNN DELL   SA

MARJOLIJN MALAN    SA

MEENA SHAH  KENYA 

MERLE CHRISTIE    SA

MICHAEL CORDEIRO  AUSTRALIA

OLECSANDER NAKONECHNYY   UKRAINE

QURRAT-UL-AIN  AMEER  PAKISTAN

SHAKILA KHALIL  PAKISTAN

 

CLASS 29  -  'IN NATURE, NOTHING IS PERFECT AND EVERYTHING IS PERFECT.

TREES CAN BE CONTORTED AND BENT IN WEIRD WAYS AND THEY ARE STILL

BEAUTIFUL'    ALICE WALKER

 

Interpret the following quotation from Alice Walker in a piece of floral art: 'In Nature, nothing is perfect and everything is perfect. Trees can be contorted and bent in weird ways and they are still beautiful'.

This required participants to embrace the idea of the Japanese concept of 'wabi sabi' - to find beauty in imperfection. And it is difficult because the floral artist's ideal is always to look for the best flower, the most unblemished foliage, the most beautiful of everything. Heck, we even have prizes for horticultural perfection!

Yet, there is incredible beauty and fascination in 'the ugly' - in the twisted, the knotted and gnarled, the spotted, the old, the wrinkled and the broken. And that is because there is character in these things. They have the look of having struggled, survived and thrived. That is why these objects often work incredibly well for interpretive design. And this title really gave the okay to embrace them.  Kim Zimmerman

1ST - BETTY O'NEILL  IRELAND

The Judges comments  :  This is a true piece of art from the imperfections of nature. Very well done, indeed. (Kenyan judges)

Exciting impact is achieved with the impressive piece of well prepared vine and good choice of additional plant materials. The bright orange berries, especially, are an added enhancement to the design. (A larger base plate is a recommendation!! South African judges)


2ND  -  ANGELIQUE ELLERTON CANADA

The Judges comments  :  This is a very artistic design with attractive placement of colour. Overall, the movement is static, however. (Kenyan judges)

A stunning piece of wood has been beautifully staged in its niche. The rare use of salix caprea (pussy willow) early spring catkins grouped together is extremely interesting. Extending them over more of the bottom left would improve the balance of this design immensely. The attention of the viewer is cleverly drawn up the wood by interspersing the pieces of carnation petals through the elongated holes and placing carnations into and on top of the trunk. (South African judges)


3RD  -  JACKIE THERON WCAFA SA

The Judges comments  :  An admirable sculptural design which uses plant material in a balanced and beautiful way. Well done to the designer. (Kenyan judges)

Dramatic plant material has produced a powerful design. Excellent colour proportion provides good visual weight and balance. The touches of green at top centre, could have been a little brighter. Unfortunately, the shape of the base is visually heavy and detracts from the beauty and form of the wood. (South African judges)


VERY HIGHLY COMMENDED  -  LORRAINE PETERS CANADA

The Judges comments  :    An impressive design that has been artistically created with unexpected colouring. A slightly stronger line of the amaranthus at top right would have been more imapctful. By turning the whole stand very slightly to the left, the gap 'at nine o’çlock' between the covered circle and mechanic would not be so noticeable. (South African judges)

A beautiful design but the title calls for a more naturalistic approach. (Kenyan judges)


HIGHLY COMMENDED  -  ELLEN CLARK  CANADA

The Judges comments  :  A distorted piece of wood is beautifully displayed and entices the viewer to look at its shapes and textured surface. The choice of fresh plant material adds contrast and further wonder! Unfortunately, the grey stand is a distraction. (South African judges)

An absolutely beautiful piece of driftwood has been used in this design. More fresh plant material is required to balance its visual weight, however. (Kenyan judges)


HIGHLY COMMENDED  -  MEENA SHAH KENYA

The Judges comments  :  A very innovative design that combines many imperfect treasures from nature in a way that is cohesive and interesting. Well done! (Kenyan judges)

Too many different pieces of branches, bark, driftwood, etc., have been used to create this structure which is confusing. The ‘imperfect’ Kalanchoe leaves are a good contrast of colour. Do take care with the neatness of both your base and the table top. (South African judges)


COMMENDED  -  DEWALD VERMAAK OBU   SA

The Judges comments  : This design is an unusual combination of greys and browns and the shrivelled dried leaves are perfect in their imperfection and reflect the title well. Slightly larger roses and more cacti would enhance the design and be in better scale. Perhaps the enclosed space at top right could have been a little larger to balance the very heavy container. (South African judges)

The piece of driftwood in this design is absolutely beautiful. It is such a pity that the overall look of this design is very heavy. (Kenyan judges)

 

COMMENDED  -  JAN DE BEER  ECFAA SA

The Judges comments  :  This is a very artistic design using a wonderful piece of driftwood and plant materials with interesting colours and textures. It is unfortunate that the twirled pipe is is so unnatural looking. (Kenyan judges)

This design contains a handsome piece of driftwood with well-suited plant material. However, the design is top-heavy and unbalanced. Removing the large white ball and placing the top right echeveria at bottom left would help correct this, as would cutting off the short, thin, piece of driftwood at the bottom. (South African judges)

 

DURBAN FLORAL ART CLUB MEMBER ENTRIES

PAULA MONK KZNAFA

 

OTHER ENTRIES

AMOS RUDDEROW    USA

YASMIN SALEH  PAKISTAN

ARTI DOSHI   KENYA

CAROL TAGGART    SA

ELIZABETH SCHREUDER   SA

ELIZE GOETZE     SA

FARRAH AZAM   PAKISTAN

FAYE FENN  KZNAFA    SA

HENRIETTE LOUW  WCAFA  SA

JILL WHEATER    SA

JOYCE WIHAN   CANADA

MALEKA MAJID   PAKISTAN

RINA MARIA SCHEPERS    SA

SHAHIDA QAZI  PAKISTAN

TERTIA DU PLESSIS    SA

 


CLASS 28  -  PANDEMOMENT

This class is all about interpreting how a crisis or bad situation can become an opportunity for something good to happen.

It was not a popular class and only had nine entries.

1ST  -  ELLEN MAUD BARNARD    SA

The Judges comments  :The use of kelp and agapanthus stems has created fabulous rhythm in this design. The placement of bromeliad flowers at the bottom is very dominant. Perhaps this bunch needed to be halved in volume and placed slightly higher up and further into the design. (Kenyan judges)

A colourful and exciting interpretation of the title. The excellent colour bursts of the bromeliad flowers and green lines move the eye through the tangle/chaos of kelp whilst not distracting from the ‘pandemoment’ in the centre. The left bottom piece of kelp could be omitted as it takes the eye out of the design. (South African judges)


2ND  SHAISTA KHAWAR  PAKISTAN

The Judges comments  :  A collection of dried pieces of material, and negative spaces, have been incorporated well into an interesting design interpreting the title. A different colour of fresh plant material would have created a good contrast, especially against a white background. (South African judges)

The interpretation is made very clear by the use of the dried material and the few fresh pieces emerging. A little more fresh plant material would have enhanced the design and strengthened class value further. (Kenyan judges)


3RD  -  LEA ROMANOWSKI  CANADA

The Judges comments  :  Well done on an exciting interpretation that has been beautifully executed. The dramatic simplicity of the linear placements highlight the chaos/pandemoment happening in the base. (South African judges)

Flax has been used very well in this design and the rolling technique in the container is interesting. A stronger interpretation is required. (Kenyan judges)


OTHER ENTRIES 

JUDITH TOOGOOD USA

KIM ZIMMERMAN  UK

LORRAINE ROSE   SA

LOUISE COMBRINCK    SA

MICHAEL CORDEIRO  AUSTRALIA

NABILA SHAH  PAKISTAN 

 

CLASS 27  -  INTERCONNECTIVITY

This class required interpretation of the word 'Interconnectivity'.

What is interconnectivity?

It is a sense of connectedness, of being part of a larger network.

The picture below is one image that I found of interconnectivity. This would be enough to get me started on a floral art journey to create something that contains many joined components.

The real challenge is maintaining good craftsmanship and a sense of unity.

Twenty one entries in this section - funny - only three South Africans.


1ST  -  MALCOLM KITT    IRELAND

The Judges comments : A dynamic design – the colour is visually exciting and the design has been executed with panache. The colourful curls and dried branch add good movement to the design and make for an excellent interpretation. (South African judges)

Congratulations on a most striking exhibit. (Kenyan judges)


2ND  -  NAVEEN SYED PAKISTAN

The Judges comments : A lovely interpretation and excellent presentation. (Kenyan judges)

A very original structure that has been skilfully executed. The unusual shape provides good scope for interconnectivity. The monochromatic colour scheme is harmonious. A few larger forms would have enhanced the impact. A great effort! (South African judges)


3RD  SHOBNA THAKRAR  KENYA

The Judges comments : The agaves are well interconnected. The zantedeschia could be more interconnected to create impact and add further class value. (Kenyan judges)

The designer has understood the concept of interconnectivity with the use of the curved leaves and calla lilies. Good rhythm has been created. Better placement of the larger yellow calla lilies towards the bottom of the design would help to balance the weight at the top of the design. The lilies look a little 'squashed'. Well done on a good effort. (South African judges)


VERY HIGHLY COMMENDED  -  DARLEEN ELLWOOD CANADA

The Judges comments : A fresh, exciting idea that has been very well executed. The strands of wire and flowers give an excellent interpretation of interconnectivity. The plant material is in good condition. The use of glass/perspex uprights creates a light, airy feel, emphasised by the dainty flowers. Well done on an innovative design. (South African judges)

This modern design has good interconnectivity in the lower part of the design. Using fewer flowers would have revealed the lines of connection more clearly. (Kenyan judges)


HIGHLY COMMENDED  - GHEETA SHAH  KENYA

The Judges comments : The designer has used a variety of techniques to interpret the title in an innovative manner. However, the interconnecting techniques tend to get lost against the black background. The pretty pink roses are rather dominant and more smooth textures would have enhanced the design. Pay attention to the neatness of the components. (South African judges)

The plant material used in this design is in pristine condition. Excellent interconnectivity is created within the piece. Using a few less lines would have created clarity. (Kenyan judges)


COMMENDED  -  MARYAM BANGASH PAKISTAN

The Judges comments :  This design shows great use of textures and the interpretation of 'Interconnectivity' is good. However, the sphere in the mid section of the design is dominant. (Kenyan judges)

A well thought out interpretation with good depth and movement created by the lines that lead your eye around the design. The captured space balances the strong colour of the roses. Textural contrast is achieved by vine ball. The long line of roses in the bottom placement tends to disturb the visual balance. Well done! (South African judges)

 

OTHER ENTRIES 

ARUNA SHAH   KENYA

BERYL LEIBBRANDT    SA

DOROTHY VORSTER   SA

JACKIE THERON   SA

MALGOSIA ZAPALA   CANADA

MANJULA DHANDA  KENYA

MITA KANORIA   INDIA

NAHIDA RAZA  PAKISTAN

NASREEN AMJAD   PAKISTAN

QUARRAT-UL-AIN AMMIR  PAKISTAN

SAMINA AZHAR  PAKISTAN

SAMRA AZAM CHAUDRI  PAKISTAN

SAMINA HUMAYAN  PAKISTAN

SHAISTA KHAWAR  PAKISTAN

SUZAN JAMSHAID  PAKISTAN

 

 

FOR LOVERS OF SPECIFIC ARTISTIC STYLES

CLASS 26  -  INDUSTRIAL

Industrial art is where creativity meets tooling and/or technology. So industrial art pieces will involve wood, metals, ceramics, 3D printing plastic stock etc.

What will an 'industrial' floral art piece look like? Will it include tools? Will it include tooled materials? Will it be the type of florals you may find in a concrete geometrical industrial setting (which is an interior trend at the moment).

Well, take a look at the twenty designs in 'Industrial' and see for yourself.

1ST  -  PRITESH SHAH  KENYA

The Judges comments  : An outstanding contemporary design representing 'Industrial'. This has such distinction! Well done to the designer! (South African judges)

A contemporary design that is almost abstract. The line definition is superb. Watch proportions of width and height – the leaf at the top saves it. The craftsmanship of this is magnificent. (Australian judge)

An exciting diagonal design using geometrical shapes and patterns to create interest. The corrugated iron sheets add depth and textural contrast. The design has a definite industrial feel. The perforated palm stems are a brilliant addition. Unfortunately, too many confusing lines create visual tension. More smooth plant material e.g. more anthurium leaves would have calmed the design and would have resulted in better harmony. (South African judges 2)


2ND  -  NEELS SCOTT    ZIMBABWE

The Judges comments  : A very striking contemporary design. The use of colour is outstanding. Depth has been created very cleverly in this piece by creative placement of materials. Well done. (South African judges)

An abstract design style which is well executed with very neat craftsmanship. However, the dominant line could be stronger i.e. the piece of angled tube should be shorter and placed closer into the design as it takes the eye out of the design as it stands at the moment. (Australian judge)

A neatly executed contemporary industrial design. Interesting industrial components create good textural contrast with the plant material used. Repetition of lines throughout the design stimulates eye movement. Repeating round forms achieves visual balance. Great depth is created by the repetition of wire mesh at the back of the design. Well done. (South African judges 2)


3RD  -  MARIEKE RIC-HANSEN  KZNAFA  SA

The Judges comments  : A totally different concept. A good contemporary design in an interesting industrial looking container. Perhaps more solid plant material is required for greater impact. (South African judges)

A lovely contemporary design. Creative use has been made of the metal sheet, nuts and bolts. The design has good proportions which could have been improved by making the botanical section narrower – this would enhance the vertical lines. Good focal area, rhythm and textures have been achieved. (Australian judge)

An original and striking industrial interpretation with good class value. The nuts and bolts used add another dimension. The plant material is beautiful. The purple angled back of the stand is intentional, but the dried leaves hanging down are disturbing the balance. The flimsy leaves are out of scale with the bulky stand. A few large smooth leaves and more cymbidiums would have rectified the scale and proportion. (South African judges 2)


VERY HIGHLY COMMENDED - GAIL TAVERNER ECFAA SA

The Judges comments  : A contemporary design with good use of glass tubing in an unusual manner. The use of scale and proportion in the piece is excellent. Workmanship is very neat. (Australian judge)

A neat, modern design which is pleasing to the eye. However, there is too little plant material to balance the industrial components. Good use has been made of different shapes, forms and textures. (South African judges)

This immaculate vertical design has excellent class value. Metal, glass, cement and inverted sticks all add to the success of the design. The choice of grey/green plant material complements the metallic look. The use of tillandsia adds both rhythm and movement and emphasises the vertical line. The circular disc looks like cement and adds interest to the design. An exciting contemporary design, well done. (South African judges 2)


HIGHLY COMMENDED  -  AMELIA LOUBSER OBU   SA

The Judges comments  :  This design has a great focal area of roses and superb colour domination. Good use has been made of industrial items so this design has wonderful class value. (Australian judge)

An outstanding design of beautiful flowers. It is a pity that their placement is so traditional as they totally overwhelm the industrial theme. (South African judges)

Rich baroque colours have been chosen for this design. The addition of rusted gears portrays the industrial element. Lovely repetition of colour and textural contrast express warmth and interest. The diagonal placement of the gears creates depth. However, when studying the industrial design style, a sense of simplicity and minimalism is observed. Howeverm this is a pleasing design with great potential. (South African judges 2)


 

DURBAN FLORAL ART CLUB MEMBERS ENTRIES

CHERYL GRIFFITHS

 

OTHER ENTRIES  :

DIANNA DE VOS     SA

DIRK CRONJE WCAFA   SA

ILSE HOLROYD      SA

JAN VENTER     SA

LEA ROMANOWSKI   CANADA

LOUISE COMBRINCK    SA

LYNN BOTTAMLEY   UK

MICHAEL CORDEIRO   AUSTRALIA

RENEE VAN TONDER    SA

RINA MARIA SCHEPERS    SA

SANDRA WILLIAMSON    CANADA

SHANDANA BANGASH   PAKISTAN

TERTIA DU PLESSIS    SA

VAUGHN HARRINGTON  KZNAFA   SA

 

 

 

CLASS 25  -  FLORAL POP ART

Below is an example of Pop Art. If you want to see more of it, google Andy Warhol and Roy Lichtentein images and you'll see tons of it!

How does one turn floral art into a comic?


1ST - SCHALK VAN DYK OBU SA

The Judges comments  :  Congratulations – a very good interpretation of 'Pop Art'. The flowers are well integrated into the symphony of geometric shapes. The colours are very typical of this style of art. An excellent design. (South African judges)

An extremely good interpretation of the title 'Pop Art'. The shapes with black outlines are reminiscent of the work by Roy Lichtenstein. Good colour contrasts make this an outstanding design. (U.K. judges)


2ND  -  KIM ZIMMERMAN UK

The Judges comments  :  An innovative design which interprets the class title well. A bolder piece of curving plant material could be used around the top of this piece which would be in better scale with the rest of the design. (U.K. judges)

Congratulations! The components are a superb choice. The interpretation is excellent and well thought out. (South African judges)


3RD  -  MARYAM BANGASH PAKISTAN

The Judges comments  :  The repetitive circles and bright colours are appropriate for this class. This design also has good textural qualities. (South African judges)

A dramatic design using suitable curving plant material to great effect. More harmony between placements would have given greater impact. Attention to detail is required. (U.K. judges)

 

OTHER ENTRIES

LEA ROMANOWSKI   CANADA

MALCOLM KITT   IRELAND

PAULA DAVIS   SA

SANDRA LABUSCHAGNE   SA

 

 

CLASS 24  -  ARTFULLY AND PARTIALLY ABSTRACT

Abstract art is art that does not attempt to represent an accurate depiction of a visual reality but instead use shapes, colours, forms and gestural marks to achieve its effect

Strictly speaking, the word abstract means to separate or withdraw something from something else.

The term can be applied to art that is based on an object, figure or landscape, where forms have been simplified or schematised.

It is also applied to art that uses forms, such as geometric shapes or gestural marks, which have no source at all in an external visual reality. Some artists of this ‘pure’ abstraction have preferred terms such as concrete art or non-objective art, but in practice the word abstract is used across the board and the distinction between the two is not always obvious.

Abstract art is often seen as carrying a moral dimension, in that it can be seen to stand for virtues such as order, purity, simplicity and spirituality.

Since the early 1900s, abstract art has formed a central stream of modern art.  Kim Zimmerman

1ST  -  YVONNE EIJLERS KZNAFA SA

The Judges comments  :  A very slick design. Good colour contrast gives a dynamic feel to the exhibit. The strong blue and white works effectively with the wood. (U.K. judges)

A striking design which is unreservedly abstract in character with outstanding use of colours, shapes and forms. It is well balanced and has been meticulously staged. (South African judges)


2ND   -   SHANDANA BANGASH PAKISTAN

The Judges comments  :  A dramatic sculptural abstract design artistically softened by black tracery which enhances the class value. There is excellent contrast of textures provided by glorious golden-brown celosia against the solid silver palm spathe. (South African judges)

The four components in this design are used to great effect and show wonderful textural contrasts. Rhythm is created by clever placing of the plant materials. (U.K. judges)


3RD  -  DOROTHY VORSTER  NWBU SA

The Judges comments  :  A very striking design using the shapes of the plant material in a very 'abstract' manner. Some plant material on the base would have helped make the black shapes less dominant. (U.K. judges)

A very striking abstract design that is beautifully presented. Excellent awareness of space is evidenced by the pleasing gap between the base and the black triangle – and the see-through circles. Outstanding! Well done! (South African judges)


COMMENDED  -  LYNNE STANAWAY UK

The Judges comments  :  An outstanding exhibit. (U.K. judges)

A very different concept. The triangles within the three frames provide good interest, as do the green mounds (moss?). However, the arrangements in the bowls are more traditional and negatively impact on the class value. (South African judges)


COMMENDED  -  BARBARA BEDELL CANADA

The Judges comments  :  An eclectic mix of different textures producing a rhythmic design. The lower placement of coxcomb upsets the balance with the straight line crossing the wood. (U.K. judges)

A brave, creative design calling to mind the work of recognised masters of abstract art. The use of plant material to capture the essence of the inspiration is commendable. This must have been a challenging design to execute - well done to the designer for an excellent accomplishment. (South African judges)


COMMENDED  -  MARTIE BOSHOFF NWBU SA

The Judges comments  :  This design artfully combines contemporary techniques to create an exciting abstract design. The choice of plaiting, splitting and weaving techniques demonstrate artistic flair and originality. The colours too are an interesting choice and combine well, underlining the overall excellence of the piece. (South African judges)

A bold upright design. The soft blue plant material is used effectively through the spathe. This movement of colour could be carried on up to the top of the spathe to balance the weight of the curling kelp at the base of the exhibit. (U.K. judges)

 

OTHER ENTRIES  

ANNALIE VAN DEN BERG  SA

SOFIA AIJAZ  PAKISTAN

ASMA ANSARI   PAKISTAN

BRANDY HERMANT   CANADA

BRENDA EKSTEEN   SA

ELLEN CLARK   CANADA

FARHAD KHALID  PAKISTAN

JAN VENTER    SA

KAREN DE KOCK     SA

LEA ROMANOWSKI  CANADA

LIZ BETTON    SA

MADHU SHAH   AUSTRALIA

MEENA SHAH   KENYA

MICHAEL CORDEIRO   AUSTRALIA

NEELS SCOTT   ZIMBABWE

 

CLASS 23 - A BOTANICAL STUDY OF ONE PLANT

For this section, competitors were required to use one type of plant only and produce a design that had the feel of a drawing they would find in a botanical handbook.

Now, these books are very interesting - even more so now because so few people do these drawings by hand anymore. The pictures will include all the component parts of the plant - seed, stem, leaves and pictures of the flowers from bud form through opening until they eventually die off. If the plant has other interesting features e.g. thorns, seedheads, fruit etc., all of these will be included. And, they would be meticulously labelled with various explanations (which obviously would not be possible in floral art).

I was really interested to see how people would interpret this section and we have twenty lovely designs to share with you. Kim Zimmerman

1ST  -  MARJOLIJN MALAN WCAFA SA

The Judges comments :  This is a beautiful expression of all the stages of growth of the protea Nitida. The colour of the base is cleverly repeated in the design. The verticals, as well as the diagonal line, give the design dimension. (South African judges)

All components of the protea plants are dramatically placed in this exhibit. Effective use of glass tubes creates transparency and light visual weight. The calm radiating green leaves create outward and upward lines. The diagonal dry roots, contrasting to thick leaves, adds drama to the design. A thinner volumetric base would have influenced and added more delicacy to the gentle arrangement. Longer wire stems on the tubes may have created a better staging. (Indian judges)


2ND  -  HENDRA GOUWS NFU SA

The Judges comments :  A botanical study 'brought to life' by the attention given to detail. The plant specimen is showcased in all stages of growth: the tender leaves to the full-grown leaf, the tiny buds to the full bloom, the maturing seeds falling off the flower head etc. The progression in the growth of the rhizome is also showcased, with a cross-section included. The mechanics are cleverly concealed. The shades of violet in the background are a little overpowering and a simpler background would have accentuated the design. The leaf and flower head emerging out of the frame adds life to the illustrative approach to this piece. (Indian judges)

A classic study of an agapanthus plant. This piece has been well executed and inscripted and all the phases of the agapanthus life cycle are shown. Colour is well used to unify the design. The composition of the elements leads to an 'picture' that perfectly replicates a botanical painting. Well done! (South African judges)


3RD  -  JOAN JORRITSMA SA

The Judges comments :  An interesting focal point is created at the base of the arrangement and it is effectively balanced by the the line movement above it which has good distinctive impact. (Indian judges)

A well executed design. The alliums create movement and capture space.

The design gracefully exhibits every component of the allium plant and its life cycle - and, at the same time the 'picture' portrays artistic flair and creativity. (South African judges)


VERY HIGHLY COMMENDED  -  ROSEMARIE BLAIR KZNAFA SA

The Judges comments :  The botanical study in this design is well presented. To strengthen the design, longer stems of the two top agapanthus flowers could lead the eye up and out of the frame. (South African judges)

A modern contemporary design with strong vertical and diagonal lines with an abundance of all plant parts used. The framework adds interest and distinction to this composition. (Indian judges)

 

DURBAN FLORAL ART CLUB MEMBER ENTRIES

ROSEMARIE BLAIR (VERY HIGHLY COMMENDED)

LAUREN MICHEL

PATSY NAIDOO

 

OTHER ENTRIES

ANETTE BADENHORST KZNAFA SA

BARBARA VERITY SA

FRANCOISE SCHAAF  SA

FRED DU PREEZ SA

GHAZALA JAVED PAKISTAN

LEA ROMANOWSKI CANADA

MARGARET BREAKS UK

MARY MANN   SA

NIMITA SHAH   KENYA

RUKHSANA RATTANSEY PAKISTAN

SANDRA WILLIAMSON CANADA

SHAHIDA QAZI  PAKISTAN

SHOBHA THAKRAR   KENYA

WIQARUNNISA BOOLANI   PAKISTAN

 

 

CLASS 22  -  A COLLAGE (to be Titled)

When we do collages in floral art, our focus is on attaching plant materials to some sort of backing board so they can be hung against a wall and last for the three or four day duration of a show. It is pretty easy to attach dried material to this - even if the component is heavy, a few strategically drilled holes and wire will do the job. Attaching live material is the problem though (because it needs a water source so we have to think about how to provide for that too).

Now that we are allowed to use paper, sisal and jute etc,, making collages is so much more fun. However, we tend to steer away from this sort of craft work in South Africa.

I thought that with COVID and lockdown, more locals may attempt this section but it was mainly taken up by international competitors.

In this section, people had to give their collage a title so each piece of work is named. Enjoy the twenty three exhibits in this section.  Kim Zimmerman

 

1ST -  GHAZALA JAVID PAKISTAN

OCEANIC CANVAS

The Judges comments  :  An exquisitely executed design, full of pleasant surprises. Colour use and placement of components has been very well considered. The competitor has given a very suitable title to this gem of a collage. Well done! (South African judges)

This highly evocative scene provides an outstanding interpretation of the ocean floor. The inspired grouping of plant and other organic materials creatively embodies subaquatic plant and marine life. This is amazingly constructed, an excellent execution of the design style and superb interpretation of the title. Well done! (Canadian judges)


2ND  -  GHAZALA SABAHAT   PAKISTAN

DRY RIVER BED

The Judges comments  :  The way the dry river bed is represented in this collage is very creative. The dry branches representing an earth fissure is inventive. However, the choice of some of the plant material (e.g. dried roses) is not harmonious. (Canadian judges)

A very well considered and neatly executed piece of work. Colour selection and the use of texture used in this design are excellent. Choice of plant material is subtle and the sparing use of components is very effective, especially considering the title. Well done! (South African judges)


3RD  -  ASMA ANSARI PAKISTAN

THE POWER OF THE SEA

The Judges comments  :  A modern interpretation of the breaking of a wave. The excellent choices of different plant materials, as well as the rhythm, depth, and good use of colour makes this a powerful collage. The use of textured materials well combined, gives meaning to all the different parts of this wave e.g. water, sand, waste and foam. The use of line in this design is also exceptional. (South African judges)

A good interpretation of the title. However, there is insufficient use of plant material which should be predominant in the design. (Canadian judges)


VERY HIGHLY COMMENDED  -  FARHAT ZAMAN PAKISTAN

AND NATURE SMILED

The Judges comments  :  This collage is evocative of a scene from nature. Plant material has been attractively used, especially the sedum branches and roots. The white blossoms lack substance - perhaps more of then could have been included. (Canadian judges)

This collage is well balanced and shows attention to detail. The sense of harmony throughout the design is most impressive. The 'decorative' painted background forms an exquisite scene for the well-chosen plant materials and other components. (South African judges)


COMMENDED - FAIEZAH  SHAHID  PAKISTAN

THE BURNING FOREST

The Judges comments  :  A very well executed collage. The technique used on background gives the exhibit distinction. The 'abstract' fire is well handled but better use of colour would have helped to add more depth to the flames. This is a well considered piece which shows the skill of the designer. (South African judges)

An expressive tableau which strongly interprets the title. The use of the branches adds depth to the scene and the employment of the skeletonised leaves and tissue papers also provides complexity. However, the placement of the fire element disturbs the rhythm in this design. (Canadian judges)


OTHER ENTRIES  :

NICOLA ROBINSON UK

A WALK THROUGH THE WOODS


 

MARIE CLAASSEN SA

AFRICAN SUNSET OVER THE WATERFALL

CHRISTINE STOTT SA

BIRDS IN THE GARDEN

HUMA ESHAN  PAKISTAN

BREAKING THE BARRIER 

AMOS RUDDEROW USA

CREEK BOTTOM

SILVANA CROCE  CANADA

FALL CLEAN UP

JULIA FABER & HEIDI DAVIDSON SA

FROZEN IN FLIGHT

FRANCOISE SCHAAF SA

I HAVE A DREAM

JEAN HANCOX  KZNAFA SA

MIDNIGHT MADNESS

ANN CRASTI AUSTRALIA

PATTERNS, PATCHWORK & PAPER

FARHAT KHALID PAKISTAN

PILLARS OF STRENGTH

LYN BAIRD KZNAFA SA

SHAPES & TEXTURES

HELEN CUSACK IRELAND

SHORESCAPE

HEATHER PATON SA

THE BUTTERFLY EFFECT

SOFIA AIJAZ PAKISTAN

THE SPICE BAZAAR

ARSHEE JAVED PAKISTAN

THE SPICE MUGHALS

FARIDA OMAR PAKISTAN

THEN WHICH OF THE LORD'S BLESSINGS WOULD YOU DENY

NAFISA TAPAL PAKISTAN

UNDER THE SEA

 

 CLASS 21  -  MY MANDALA

1ST - SCHALK VAN DYK OBU SA

The Judges comments  :  A very neatly executed design. The use of colour is exquisite. The plant material is in pristine condition and is placed flawlessly. The repetition of colours and shapes creates a wonderfully harmonious mandala. Well done. (Indian judges)

The workmanship and attention to detail in this mandala is incredible. The use of colour is fabulous and the pattern repetitions are superb. Well done to the competitor. (South African judges


2ND  -  JEANNE ANNE GOLDRICK CANADA

The Judges comments  :  This is a very successful mandala. A fabulous variation of plant material has been used which has created a lot of interest for the viewer. The repetition of pattern is absolutely immaculate. Well done! (South African judges)

A well finished design. There is a cohesive mix of the forms and colours of the seeds and leaves used. The placements are set with precision adding to the overall interest of the design. The colours in the central area either needed to be repeated or not used at all. (Indian judges)


3RD  -  ANILA HINDOCHA, MISHA RAJANI & PRAMILA SHAH KENYA

The Judges comments  :  This mandala uses striking colours and bold shapes for patterning. Workmanship, in the main, is excellent except for the small white flower circles which appear slightly irregular. Well done. (South African judges)

A flawless mandala where the use of the Norfolk pine needle is outstanding. However, the big flowers in the design take the eye away from the strong geometric patterning. (Indian judges)


VERY HIGHLY COMMENDED - HEIDI DAVIDSON GBU SA

The Judges comments  : This is an immaculate design using an excellent colour palette. All placements show admirable precision which draws one's attention into this mandala. Well done to the designer. (Indian judges)

Good use of pattern and colour is evident in this mandala. Plant materials have been used in a simple, but effective, way. The workmanship is superb. Unfortunately, the black background detracts from the visual impact. (South African judges)


 

HIGHLY COMMENDED  -  SAMEENA AHMED  PAKISTAN

The Judges comments  :  There are pleasing colours, patterns and good curved radial lines in this mandala. However, there are few recognisable concentric circles besides those immediately following the focal area. (South African judges)

A very impressive formation enhanced with the versatile use of stems giving this mandala a fabulous sense of movement. The colours and textures of the materials used add a lot of interest to the design. Some of the placements are mildly wavered. Nevertheless, an eye catching and enjoyable piece. (Indian judges)


COMMENDED  -  JAN DE BEER OBU SA

The Judges comments  :  A extremely neat and well executed design. It has good rhythm and colour balance. Well done to the designer. (Indian judges)

Bold colours and striking repetitions have been used to create this successful mandala. There are a couple of spacing issues. (South African judges)

 

OTHER ENTRIES

AMIKA GUDKA & NEEMA SHAH KENYA

AMNA ABBAS  PAKISTAN

ANITA PATEL & DIPTY SOMAIA KENYA

BEVERLEY FRASER SA

CHRISTINE STOTT SA

DEWALD VERMAAK SA

ELMIEN RAVENCROFT SA

GHAZALA SABAHAT PAKISTAN

HUMA EHSAN PAKISTAN

ISOBEL GROBLER SA

JENNY SMITH SA

MARIE DECKER CANADA

MEGAN JOHANNESEN USA

MINAYAL NAWAB PAKISTAN

MUSSARRAT ZAIN PAKISTAN

NAFISA TAPAL  PAKISTAN

PAM GALLOWAY UK

RINA MARIA SCHEPERS  SA

RUPAL CHANDARIA & ARTI DOSHI KENYA

SUE FINGLETON AUSTRALIA

YASMIN SOHAIL PAKISTAN

 

FOR THE ARTISTS IN US ALL

CLASS 20  -  AQUA VISTA

Eva Isaken was born in Norway. She received initial tertiary education at the Nordland School of Arts and Crafts there but has since attained a BFA from the University of South Dakota and a MFA from Montana State University. She now lives and works in Seattle, Washington State. Eva is a collage artist who works with many fine layers of paper upon which she prints and paints. Much of her art is purchased by collectors in Norway, Latvia and the United States.

She says, 'My work has always been inspired by nature: organic forms, cycles, seasons, land, water, sky, order, rhythm, repetition, growth, life, regeneration. The thin papers, which I print on, draw on, cut up, mix, are layered endlessly on the canvas. My work is about colour, line, material, form, and space and about art as a process that always changes and grows.' Kim Zimmerman

 

1ST  -  PRITESH SHAH   KENYA

The Judges comments  :  An excellent representation of Eva Isaken's collage work. A wonderful variety of plant materials and other components have been incorporated together. This design is immaculately executed. Well done. (Kenyan judges)

The exquisite combination of colour, texture and variety of plant material in this collage design, perfectly interprets Eva Isaken’s 'Aqua Vista'. The endless layers are very much in keeping with Eva’s style and have captured the essence of this piece. One small negative is the 'uncomfortable' bend in the sansevieria. Congratulations on a superb exhibit. (South African judges)

 

2ND  -  MITSIE BACH  WCAFA  SA

The Judges comments  :  The exquisite blending of tints, tones and shades of a complementary colour scheme with good use of all the elements of design, results in an excellent interpretation. Just a small idea - the fencing technique could have been neater and the placement of this component is inclined to take the eye out of the design. Overall, congratulations on an excellent design of distinction and artistic merit. (South African judges)

A beautifully harmonious design that interprets Eva Isaken's 'Aqua Vista' very well. However, the top right circular disc needs to be slightly smaller to integrate well with the other components. (Kenyan judges)


3RD  ELAINE BEDFORD  UK

The Judges comments  :    This design includes the skilful use of plant material in multilayered circular forms with rhythmic contrasting textures and well blended colour to suit the title. Repetition of the circles creates good rhythm. However, there is a lack of unity as each circle appears to be an individual component. (South African judges)

The colour harmony of Eva Isaken's 'Aqua Vista' is very well depicted and the overall interpretation is excellent. Plant materials have been well chosen. The two front bottom spheres could have been placed at a sharper angle from each other. (Kenyan judges)


VERY HIGHLY COMMENDED  -  SCHALK VAN DYK  OBU   SA

The Judges comments  :  A good variety of plant material has been used in this piece. The influence of the artist is clearly seen but the impact of the design would be so much better if a lighter blue had been used for the backdrop so that the blues in the plant material could be more prominent. (Kenyan judges)

A pristine design using some very interesting techniques. Sadly, the interpretation of 'Aqua Vista' is predominantly provided by the strong hue of the background and not the components of the design. (South African judges)


HIGHLY COMMENDED  -  JANE ACKERMAN  WCAFA  SA

The Judges comments  : A beautiful and imaginative design using wire techniques to great effect. The texture and colour harmony within the circles are superb. The colour of the umbelatum lily could have been repeated for better unity of the design. Unfortunately, the exhibit appears to be leaning slightly towards the left which is creating a visual balance disturbance. (South African judges)

This design makes use of lovely tints and tones of aqua. Eva Isaken emphasises organic shapes and materials. This design is mostly balanced with wire work and more use of fresh and dried plant materials would have lessened its impact. (Kenyan judges)


 

COMMENDED  -  FARIDA KALIM PAKISTAN

The Judges comments  :  A very inspirational seascape inspired by Eva Isaken's 'Aqua Vista'. A good variety of textures have been used. The pink flowers are an inspired accent and provide the eye with a good entry point into this design. (Kenyan judges)

Fascinating plant material and beautiful colouring have been used in this very complex and pleasing underwater vista exhibit. However, the inclusion of the pink roses detracts from the overall interpretation and the black base adds unnecessary visual weight. Some smoother textural sensations would have enhanced the design. (South African judges)

 

DURBAN FLORAL ART CLUB MEMBER ENTRIES :

ROSEMARIE BLAIR  KZNAFA   SA

 

OTHER ENTRIES  :

ANN PETERS  CANADA

DILSHAD AHSAN  PAKISTAN

FARRAH AZAM  PAKISTAN

HENRIETTE LOUW  WCAFA SA

JAYNE MERRIMAN  UK

JILL HOSKIN   SA

LEA ROMANOWSKI   CANADA

LYNNE BOTTAMLEY  UK 

MARE DE KOCK   SA

NAHIDA RAZA  PAKISTAN

ODETTE PAXTON   SA

PAT LARKIN  UK

PRIYA SHAH KENYA

RENEE VAN TONDER    SA

 

SADIA AHMAD  PAKISTAN

SHAHIDA QAZI  PAKISTAN

SUE MEADOWS  USA

SUSHMA CHAMARIA  DUBAI

WIQARUNNISA BOOLANI  PAKISTAN

 

 

CLASS 19  -  A DESIGN INSPIRED BY JOAN MIRO'S 'CIPHERS AND CONSTELLATIONS'

In this class, competitors were asked to be inspired by a specific piece of art which was Joan Miro's, 'Ciphers and Constellations'. This is actually a relatively small work (about A3 size) done in watercolour and gouache, painted by Miro in 1941. (Quite strange really because when I came across this piece online, I imagined it would be massive.)

This art is owned by the Art Institute of Chicago and is one of a series of twenty three paintings that Miro did titled 'Ciphers and Constellations' - this one's specific name is 'Ciphers and Constellations, in Love with a Woman'.

Competitors were asked to not attempt to replicate the piece of art but rather to be inspired by the abstract expressionism and surrealism that they experienced in the colour choices and symbols within the piece.  Kim Zimmerman

1ST  -  PREETI SARDA  INDIA

The Judges comments :  An unusual abstract, almost surrealist, fantasy design which is a very good representation of the artist's work with the most delicate and inspiring wire work. The little cube stand could have been painted the same colour as the background for a floating effect. The base should also have been the same pale colour as the background. This would have given the dark main line a lighter impression. The colours of the flowers are a little too dull to give the design the impact it deserves. (South African judges)

Artistic expression is so well achieved in this piece. And, one can see that the designer has been inspired by Miro but not attempted to copy his work. Well done. (Kenyan judges)


2ND  -  PRIYA SHAH KENYA

​The Judges comments :  A very playful and artistic design using rhythmic elements to successfully illustrate Miro's 'Ciphers and Constellations'. However, the glass container does not blend into the background or base and is quite distracting. The base would have worked better if it was painted the same colour as the background. This would have helped to negate the glass container more. (South African judges)

This is a well staged exhibit. However, even more inclusion of various of the symbols in the painting could have been incorporated into this piece. (Kenyan judges)


3RD  -  CHRISTINE STOTT  GBU SA

​The Judges comments :  A creative and pleasing interpretation of Miro's work which places various plant materials in an abstract fashion. Unfortunately, the frame is very over powering. Perhaps, if it were painted the same colour as the background it would have created the atmospheric ambience of the constellation. (South African judges)

An good artistic impression of Miro's 'Ciphers and Constellations' is well achieved. However, the stand is too dominating. (Kenyan judges)


VERY HIGHLY COMMENDED  -  HENDRA GOUWS  NBU  SA

​The Judges comments :  This is an excellent interpretation of Miro's 'Ciphers and Constellations'. The presentation is also inspired. Well done to the designer! (Kenyan judges)

This design gives a definite feel of Miro’s work which is creatively illustrated with plant material in a rhythmic interplay of shapes, spaces, line and colour. However, the 'eye' placed in at the top centre is too dominant. It could have been balanced with placements in the open area above the base which would have helped the stand become part of the design. (South African judges)


HIGHLY COMMENDED - TERESA CRAIG-MORGAN CANADA

​The Judges comments :  A very good interpretation of the theme, using colour, movement and repetition to illustrate a surrealistic fantasy of ‘Ciphers and Constellations’. Unfortunately, the pottery containers have visible rims that are distracting.

Larger scattered flowers would have been more suitable for this abstract theme. All the plant materials are small and out of scale to the space and the rest of the design. (South African judges)

The backdrop of this design is very artistically created. The exhibit, although it is essentially three spherical designs, has been skilfully presented with good linking components. Well done. (Kenyan judges)


COMMENDED  -  QURRAT-AL-AIN AMIR PAKISTAN

​The Judges comments :  An excellent metaphorical expression and interpretation of Miro's 'Ciphers and Constellations'. Clever mechanics have been successfully used and the design is very artistically presented. (South African judges)

A good attempt. However, the design relies too much on the green spathe and red spiral element as a representation of the eye whereas there is so much more that could be included in the interpretation. The area of crossing lines is too congested. (Kenyan judges)


DURBAN FLORAL ART CLUB MEMBER ENTRIES  :  

KEVIN WEBB KZNAFA   SA

 

OTHER ENTRIES :

ANITA JORDAN    SA

BRANDY HERMANT   CANADA

CARYS HARRISON    UK

DI COCHIUS   SA

DIANA WEIBEL    SA

ELMIEN RAVENSCROFT    SA

JUDY PREEN  SA

LEA ROMANOWSKI   CANADA

ROCHELLE MARCHESINI  SA 

VAUGHN HARRINGTON   KZNAFA  SA

ZENOBIA BOSCH   SA

 

 

 

 

 

 

 

CLASS 18 - INSPIRED BY GUSTAV KLIMT

TWENTY LITTLE FACTS ABOUT GUSTAV KLIMT

1. Klimt was the founding president of the Vienna Secession who denounced the conservative art of Vienna's art establishment which favoured academic historicism. He was one of the founding fathers of modern art in Vienna.

2. However, Klimt studied classical art and he was a successful academic painter (mainly of portraits) before he embraced a more avant-garde style.

3. Klimt never painted his own self portrait.

4. Women were his favourite subjects and all his paintings of them are marked by their erotic power. For Klimt, women were not 'virtuous instruments of God'. Rather, they were unabashedly sensual.

5. Klimt was a notorious, but secretive, womaniser. He never married but had many lovers and is said to have fathered fourteen children. He had affairs with many of his models and female sitters who were wealthy society women.

6. Their liasons took place in his studio where Klimt painted in nothing but a blue kaftan.

7. His long time muse was his brother's wife's sister, Emilie Louise Floge, but their relationship was chaste. She is supposedly the female figure in his famous painting, 'The Kiss'.

8. Klimt loved cats. He had eight to ten cats as pets.

9. Klimt was interested in 'Gesamtkunstwerk' - total artwork. He liked the idea of a harmonious synthesis of visual art, architecture and the performing arts. His 'Beethoven Frieze' is a perfect example of this.

10. Like his contemporary, Sigmund Freud, Klimt was fascinated by human sensuality, dreams and the unconscious.

11. Besides, figure painting, Klimt also delved into landscapes. These were flattened compositions that combined naturalism, pattern and abstraction.

12. Klimt's paintings were the subject of the most famous case of Nazi art theft. This story is depicted in a 2015 film starring Helen Mirren called 'Woman in Gold'.

13. Klimt became commercially successful but he grew up in poverty.

14. Klimt was commissioned by the state to do work for the University of Vienna. The panels he produced for the faculties of Medicine, Philosophy and Law caused such outrage that he abandoned the project and never accepted work from the state again. The Nazi's set fire to Schloss Immendorf in 1945, destroying these artworks forever.

15. Personal tragedy spurred his artistic vision. His goldsmith father and fellow artist brother, Ernst, both died when Klimt was thirty. He was forced to re-evaluate his art and became more symbolic in his approach.

16. Klimt mentored a new generation of artists - most notably Egon Schiele.

17. Klimt's 'Golden Phase' was prompted by Byzantine imagery and mosaic.

18. Today, Klimt's works are amongst the most reproduced and ubiquitous in the world.

19. Klimt died in 1918 at 55 years of age. He was a victim of the global flu pandemic.

20.The Klimt oeuvre inspires endless interpretation. Klimt never discussed his work. However, it is steeped in his meditations on sex, death, dreams and desire.  Kim Zimmerman

 

1ST MICHAEL CORDEIRO AUSTRALIA

The Judges comments :  There is excellent rhythm, the smooth curves of Art Nouveau and the detailed textures of Klimt in this design. It also speaks to his variations in forms. Gold colouring runs throughout this work even into the background. This piece screams 'Klimt'. Well done! (Canadian judges)

The repetition of colour, shapes, line, and choice of plant materials present a harmonious design with obvious Klimt references. The overall form of the design indicates the Byzantine influence on Klimt from a certain stage in his life. This piece evokes a feeling of harmony and peace. The patterns and texture of the background complements design. (South African judges)


2ND MARJOLIJN MALAN SA

The Judges comments :  The scattering of colour throughout this design is very reminiscent of Klimt’s work. This is a very good interpretive piece with excellent class value. A spectacular variety of plant material has been incorporated into the design, yet it is so harmonious. The soft curves of the palm spathes with the touch of gold could represent the female figure which was one of artist’s primary subjects. (South African judges)

The detail in this design is very reminiscent of Klimt's nature/flower garden-scapes. The work indicates strong rhythm and an elegant use of blue contrast. The dried spathes add some contrast to the small-scale of the flowers and fruit being used. Unfortunately, there is little place to rest the eye in this piece. The three sunflowers are not enough of a foil to all the large amount of densely placed small/filigree flowers. The dried spathes could potentially do this, but are not fully integrated into the design. (Canadian judges)


3RD IRINA CODE CANADA

The Judges comments :  This design has linear curves, decorative patterns, squares, and spirals which are all motifs that Klimt frequently used. The theme has been artfully executed. The gradation in the value of colours used creates a natural flow and rhythm in this piece. (South African judges)

This is an excellent interpretation with good rhythm established via repeated shapes and patterns. There is excellent attention to detail and craftsmanship. The use of negative space is superb.The white material in the upper right section of the third screen disappears against the light background which somewhat affects the balance of the design. Also, the shape of white material is inconsistent with Klimt's aesthetic. (Canadian judges)


VERY HIGHLY COMMENDED FAIEZAH SHAHID PAKISTAN

The Judges comments :  This design is extremely original, artistic and daring. All the components and background are in total harmony with one other. There are wonderful textural contrasts (roughs and smooths) in the design. The container does seem a little dominant but its colour is repeated in some of the plant material used in design. (South African judges)

This design has a great sense of movement but the right side of design says Klimt far more than the bottle on the left which causes a visual imbalance. The solid dark colour fails to counteract the less saturated lacier flowers. Klimt's use of dark colours is more restricted (except in blue period, where everything was blue). (Canadian judges)


HIGHLY COMMENDED - HENDRA GOUWS NBU SA

The Judges comments :  This design is one of the best Klimt interpretations in terms of variation in colours, textures and shapes and it also contains wonderful areas of airy openness. The line and rhythm is excellent. However, the structural panel may be a distraction, although its colour variation works well in this piece. The straight lines of black wires/ sticks are also inconsistent with curves of the surrounding materials. (Canadian judges)

The curved structural component, gold leaf and spirals are features of Klimt’s work. The curved component symbolises the female body which was a primary subject of the artist. More subtle linear plant materials on right side of design would have enhanced the solid left. The visible straight plant material detracts from the implied female figure. (South African judges)


COMMENDED -  JOSIE BRENNAN AUSTRALIA

The Judges comments :  The lines of the structural component create a decorative pattern and texture in this design. The colours and forms of the plant materials create rhythm. The overall shape and form of design gives impression of an embrace, which was a trademark of Klimt's. (South African judges)

The colour palette is consistent with Klimt's work. However, the mesh is too dominant: the light colour is the issue - a darker mesh would likely be less dominant, and allow the interior colours to 'break through'. A couple of mechanics are showing. (Canadian judges)


COMMENDED - SUZANNE TRAFFORD WCAFA SA

The Judges comments :  This design is definitely Klimt-consistent and demonstrates interesting colour choices and geometrics, especially in the lower portion of design. However, the white acts as a visual bull's-eye mainly due to lack of contrast (e.g. Klimt used contrast in colour of geometric forms). Lack of colour contrast also affects communication of the vertical line by the white flowers. Rhythm is halted by the green leaves at top which create an area of heaviness. The red frame is a distraction. (Canadian judges)

The gold component suggests a charming, curved shape - perhaps of a woman, one of Klimt's favourite subjects. The two white components mirror each other and form a dominant part of design. Good introduction of gold flecks recalls Klimt's style. The scale (size) and proportion (amount) of white anthuriums is insufficient. (South African judges)

OTHER ENTRIES  

ANETTE BADENHORST  KZNAFA   SA

ANNELIE VAN DEN BERG   SA

BARBARA SMITH  CANADA

DE-MARA BEZUIDENHOUT    SA

ELSA KOLVER    SA

HEATHER PATTON    SA

LEA ROMANOWSKI   CANADA

LIZ BROAD   UK
 

MARIEKE RIC-HANSEN KZNAFA   SA

MINAYAL NAWAB PAKISTAN

NADIA BALAGAM PAKISTAN

NAFISA TAPAL  PAKISTAN

SADIA AHSAN PAKISTAN

SUNA MALHERBE    SA

VERENA BEHSEN     SA

 

 

CLASS 17  -  A STILL LIFE FOR HENRI MATISSE

Suddenly, there was more interest in the show - people seemed to quite like the challenge of a still life (perhaps because they don't require vast quantities of expensive plant materials). And, a look at the still life portfolio of Henri Matisse is a very interesting exercise indeed.

Matisse himself said, 'To copy the objects in a still life is nothing. One must render the emotions they awaken.'

Matisse was not one to 'construct' a carefully composed still life. He painted from real life - as he found objects on a table, he left them and painted them. He imbued his work with emotion by painting with bright and wild colours (fauvism) that had no basis in reality but that evoked an immediate visceral response.

Matisse painted with speed in the 'alla prima' manner i.e. works were completed in one session with no preliminary underpainting. He worked rapidly and intuitively with very free brush strokes that he did not modify. (Oh, for that amount of confidence!!) There was no attempt at precision and he left glints of unpainted canvas which gave many of his works verve and energy.

Although Matisse's works are very colourful, he actually worked with a limited palette and did not mix colours. Thus, his painting are always vital and unmuddied.

Often, the objects in a Matisse still life are just simple placements but because he used colour at such a high pitch and his mark making was so interesting and varied, his works often appear to have a strong element of abstraction.  Kim Zimmerman

 

1ST JEANETTE HABLUTZEL SA

The Judges comments : An exceptional interpretation of 'A Still Life for Henri Matisse' in true fauvist style. Bright colours, flattened forms and paper used in a stabilised fashion! This piece is beautifully executed. (South African judges)

A conceptual delight energised by a bold use of colour and form. The primary colour story is crisp and clear, fortifying the contrast between the botanicals and the controlled components. Lines of demarcation are well defined, adding a distinctive graphic quality so typical of the Matisse aesthetic. Balance is affected by the void in the blue mid/upper right zone. Very well done. (American judge)


2ND - ELIZE BADENHORST GBU SA

The Judges comments : This design has beautiful colour harmony and uses few components very effectively. More thought could be given to the section at the base of the design - perhaps a couple of extra related units could be added to create a more compelling still life. However, it really looks as if Matisse painted this 'with fierce brushstrokes'. (South African judges)

This is 'A Matisse Moment'. Sunshine colours breathe air into this work and create a 'homey; mood. Balance is slightly affected by the forward placement of the zinnias. (American judge)


3RD ALPA SHAH KENYA

The Judges comments : This design is a good still life in the style of Henri Matisse. Colour has been used expressively and the bright hues are true to the spirit of fauvism. Stronger flowers would create even more impact.Well done! (South African judges)

This piece has a graphic quality achieved by the controlled colour story and placement of materials which has enabled the depth so typical of the Matisse aesthetic. The design is well balanced and inviting to the eye of the beholder. (American judge)


VERY HIGHLY COMMENDED - MARIEKE RIC HANSEN KZNAFA SA

The Judges comments : Bold use of colour and form contribute to the graphic quality of this reduced expression of a Matisse still life. Multiple rhythms enable the eye to rest comfortably and highlight the botanical components. Contrasts (glossy/matte, rough/smooth, dark/light) are well integrated. (American judge)

A very original concept and one that Matisse would have probably enjoyed. The different heights of staging gives interest. The three dried protea heads do not contribute to the overall harmony of the design. Just a simple lily or two might be more successful and have better impact as fresh plant material. (South African judges)

HIGHLY COMMENDED  - NOSHREEN ARIF PAKISTAN

The Judges comments : This still life is reminiscent of the style of Matisse. It uses the bold and bright colours true to the fauvist movement and has successfully placed dissimilar objects haphazardly together as the artist himself did. Well done! (South African judges)

The colour, depth, and form of the botanicals are highlighted by the airy placement of the components. Technique is evident with the foliage treatments that allow texture to take centre stage. Expression is affected by the organisation of materials which suggest a mood that is rather too 'old world'. (American judge)


COMMENDED - NAFISA TAPAL PAKISTAN

The Judges comments : Here is a setting Matisse would certainly appreciate. The familiar strewn 'table-scape' is an explosion of colour with touches of black that help create rhythm in the dense mid section. Air surrounds the botanicals. However, the void in the upper left quadrant affects balance and depth. Dominance is not clear. (American judges)

An interesting interpretation of a still life for Matisse by using the artist’s requirements in his later years when he 'painted with scissors' i.e worked in the collage format. Lovely bright colours are prevalent. However, the red and yellow box and the triangular shape are too dominant. (South African judges)

OTHER ENTRIES :

BUSHRA MAQSOOD PAKISTAN

GRETA FOURIE NBU SA

JULIE FABER SA

KATH SHAW UK

KIM ZIMMERMAN UK

LEA ROMANOWSKI CANADA

MICHAEL ERDMAN CANADA

NADIA BALAGAM PAKISTAN

PRIYA SHAH KENYA

RINA MARIA SCHEPERS SA

SARIE BOTHMA SA

TERTIA DU PLESSIS SA

VINCENZIA MARAIS SA

 

CLASS 16  -  RUBENS-ESQUE

'Rubenesque' means characteristic or reminiscent of the paintings of Rubens (1577 - 1640), especially with reference to his voluptuous female nudes.

Here, I think one needed to look at the paintings of nude women of Rubens' (and there is a large portfolio of these) and produce something inspired by those. This was the section where one could bring classical Baroque styling because Rubens was a Flemish painter of the Baroque period. (I believe there were a couple of designs in the previous section that would have been much better placed here.) However, one could take a contemporary approach to a curvy female form as well. (About ten years ago, fat women cards and sculptures were all the rage in South Africa. Do you remember them?)

I think this entry needed a certain roundedness, softness and fleshy tonality. And, it needed to be feminine too. Kim Zimmerman

1ST LORRAINE ROSE SA

The Judges comments : A beautiful Baroque styled design with materials carefully selected to create a design rich in fruit and flowers with round, soft forms. However, the drape colour and components are not strong/bold enough for 'Rubens-esque'. (South African judges)

This rotund flowing exhibit creates the feeling of 'Rubens-esque'. The addition of the light fabric enhances the feminine feeling and adds class value to this design. (U.K. judge)


2ND FAYE FENN SA

The Judges comments : A lovely mass design with a colourful variety of flowers. However, Rubens worked with a very minimal colour palette and perhaps if the design had just used tints, tones and shades of pink and some touches of brown, the result would have been better. (S… 

An flowing exhibit creating the feeling of a Rubens painting in flowers. The internal pattern making is also fluid and rhythmic. (U.K. judge)


3RD JANICE JENKINS CANADA

The Judges comments : The colouring of this design definitely speaks to rubenesque femininity. The plant material is fresh and beautiful. A Baroque style mass has been attempted and lovely staging complements this design. The lilies are a little overwhelming. (South African judges)

A very voluptuous design. The striking forms of the lilies need some contrast in texture and colour. Using other varieties of flowers in a more visible way would help. (U.K. judge)

 

OTHER ENTRIES : 

ANNE HARBORD CANADA

FRED DU PREEZ SA

MICHAEL CORDEIRO AUSTRALIA

SALMA ANSARI PAKISTAN

 

FOR HISTORY LOVERS WHO KNOW THAT KEEPING IT ALIVE MEANS MAKING IT RELEVANT

 

CLASS 15 - A MODERN ROCOCO FANTASY

So, how did I know that this class would have virtually no entries? Well, in South Africa, anything that requires a lot of flowers is going to have designers scattering in all directions (unless they've got a great garden). Must say it always amuses me that people say that 'flower shows aren't flower shows unless there are a lot of flowers for the public to see and smell' but ask those same people to put up a mass (not only foliages, please!) at the next floral event and there are a million excuses! Fact is - flowers cost a lot these days and even those who grow them don't necessarily want to denude them and then have to provide for all 'flower friends' who now know they've got those beautiful roses, dahlias etc in their gardens.

For the northern hemisphere, the problem was different. You can't do anything when there is just bad weather and an abundance of ivy around - and maybe the odd bunch of tulips in Tescos. January and February is seriously not the right time for trying to get Rococo inspired, especially in times of COVID lockdown.

But this section was really asking for contemporary Rococo, so there was a lot of breathing room for the creatively inclined.

Rococo is all about curves, comfort and exoticism - and forms suggesting rocks and shells - and one can do a lot with those concepts with just draping and accessorisation (and a couple of good plant forms.

As Rococo interiors have made a comeback, there is various patterning that one could play with too. Rococo used to be all about soft pastels - but contemporary Rococo allows bolder colours but they still have to be unmuddied.

This section has only seven entries - and I thank all those who emptied their gardens and the garden's of their friends to do these works.

It has been very difficult to collate these results as each set of judges took a different approach and, thus, had quite different results. This is reflected in the winning designs. The first is very Rococo (but this sort of designing is very trendy at the moment so could be considered modern/contemporary), the second is ultra modern - an almost avant garde Rococo - and the third is a mass of glorious blooms which one could just picture on the boudoir of Marie Antoinette or a person who just loves flowers and has access to them in great abundance.

Our American adjudicator had this to say and I think it is quite relevant. She didn't feel the class was strong based on the scope of the title. She was hoping for a modern version of neo-traditional with boundaries pushed even further as enabled by the word 'Fantasy' in the title. She was looking for competitors to take risks and attempt to evolve design styles even further.

If you want to look at neo traditional work, she recommends Kiana Underwood's book, 'Tulipina'.

CONGRATULATIONS WINNERS!!       Kim Zimmerman

1ST SCHALK VAN DYK OBU SA

The Judges comments : This is an effervescent collection of botanical delights and an exploration in colour and texture. The mood is young. Such a lovely presentation of pristine plant materials is refreshing. However, the strong references to historical forms, combined with very traditional placements of flora and decorative accents, suggest a hesitancy to fully embrace the class title. (American judge)

Congratulations on a very beautiful well thought out design. Stunning use of colour and choice of plant material. Excellent photography too! (South African judges)


 

2ND LEA ROMANOWSKI CANADA

The Judges comments : A modern conceptual delight with direct references to Rococo form and fancy. Masterful placements of materials create areas of negative space and a feeling of timeless whimsy. This design has exciting applications of balance, colour, line, scale and distinction. Very well done. This is 'Rocking Rococo'! (American judge)

A very interesting modern design. However, the look and feel of Rococo is lost. Much more floral plant material is required. Also, the container is too modern for the theme. (South African judges)


3RD SUZANNE BARKER CANADA

The Judges comments : Congratulations on a beautifully taken photograph! The colour scheme and flowers are gorgeous. Attention needs to be paid to the scale of the container in comparison to the amount of flowers used. (The container is too small.). The shape of the design could have been more feminine. (South African judges)

A pink dream! A soft, harmonious monochrome palette supports an abundant presentation of pristine plant material. However, the contrasts in texture and form are insufficient to embrace the airiness and line typical of Rococo styling. (American judge)

 

OTHER ENTRIES :

DEWALD VERMAAK SA

KIM ZIMMERMAN UK

LENIE BEUKES SA

MALCOLM KITT IRELAND

 


CLASS 14  -  EGYPTOLOGY FOR THE TWENTY FIRST CENTURY

O.K - moving from the 'highs of emotion', the show now enters the 'lows of history'. And, if I know one thing about preparing candidates for the S.A.F.U. National Design Diploma or for the Judges' Examination, it is that they detest having to learn about the history of floral art. It's so boring, they all complain.

I was one of only seven who sat A level history at our school and I loved it - despite having a teacher who was one of those - 'Open the text book to page 203 and summarise the chapter, then learn it and there'll be test on Monday' types. History is the link that gives us perspective and the strange thing about history is that it really does keep repeating itself (so regularly, infact, that there's not that much to learn).

Egypt was at its zenith about 3000 years ago. However, they left an indelible mark on world in many ways. When we think of Egypt, we immediately conjure up images of The Pyramids, whether we've actually seen them, or not. Because of their love of order, geometry and predictability, the Egyptians have left a permanent mark on how we approach architecture. Their classical way of draping fabric returns in fashion again and again - as do Egyptian hieroglyphic type motifs. And where do you think the original 'smoky eye' originated? Cleopatra, perhaps?

I have included some pictures to show you Egyptian influences in contemporary architecture and fashion. The architectural pieces are of Wafi Shopping Centre in Dubai (and its interior) and the conservatory is the Muttart Botanical Garden in Edmonton, Canada. The fashions are a recent showcase of designs by The Ibrahim Amany School of Fashion.

So the relevance of Egypt is still being felt today and this is what designers needed to bring to their entries for this section. What could they take about what they know about Egypt and turn it into a contemporary piece that we could enjoy now but that we still saw as emanating from the Egyptian cultural contribution.

It was a challenge - but I think there are some really good designs in this section.  Kim Zimmerman

1ST - MADHU SHAH AUSTRALIA

The Judges comments : A fabulous design and definitely a contemporary take on the Egyptian 'Eye of Horus'. The container, with its repeated geometrical shapes, speaks to the Egyptian love of predictablity. The use of black, white, red and yellow is totally appropriate. There is good movement in this design created by the cane and the cycas and great interplay of solids and open areas. The protruding bulrushes are a 'shout out' to the Nile River and use of Egyptian plant material. This designer has realised that to get a twenty first century feel, one cannot obey all the 'Egyptian rules of static beauty'. So, he/she has kept them in the container but 'thrown caution to the wind' in the design and still created something that speaks to the title. Very well done! (South African judges)

What an exciting and clever interpretation of 'The Eye of Horus'. The rhythm in this design is outstanding. The 'tear' would be better expressed with compact plant material, not the spaced radiation of the bulrushes. (Zimbabwean judges)


 

2ND - PRITESH SHAH KENYA

The Judges comments : A very striking twenty first century procession of Egyptian styling. The use of plant materials - palms, papyrus, bulrushes and lotus lily heads is so fitting. The colours - gold, green and blue against the black background work very well indeed. The 'gold' structure in the middle of the design is very intricate and beautifully embellished with small lotus lily heads. (It almost looks like the side view of an Egyptian headdress.) The way it is positioned between two similar green placements speaks to the Egyptian love of order and symmetry. Perhaps there could have been better harmony between the centre placement and the two outer ones - just a thought - that does little to diminish an accomplished piece. (South African judges)

A highly creative and imaginative design which has been beautifully assembled. Well done! (Zimbabwean judges)


3RD ANNE DALE GBU SA

The Judges comments : This design is a contemporary take on 'The Eye of Horus' which is the ancient Egyptian symbol of protection, royal power and good health. The choice of plant materials is excellent and the way they have been embellished with turquoise and gold is very Egyptian but also very contemporary. The three structural pieces within this design recall the sense of geometry so favoured by the Egyptians. The stand is a little distracting. It would also be interesting to see this design raised a little higher - but obviously the papyrus stems would need to be longer to still reach the base. Overall, this is an exceptionally eye catching and artistic creation. Well done to the designer. (South African judges)

A very dynamic design with excellent attention to detail. A reduction in black elements would be beneficial. (Zimbabwean judges)


VERY HIGHLY COMMENDED - PAULA MONK KZNAFA SA

The Judges comments :A very polished presentation showing the static rhythms and symmetry that the Egyptians loved best. The way the palms have been presented - backed by eucalyptus bark and fronted by a fan - is very clever. Using a peacock feather as a focal point is genius. The touches of gold are apt and do not overpower the design. This is sleek and lovely and could probably grace any five star Egyptian hotel in the twenty first century. (South African judges)

An excellent design that definitely recalls the Egyptians. Very high class value. (Zimbabwean judges)


HIGHLY COMMENDED - MALCOLM KITT IRELAND

The Judges comments : A totally 'off the wall' take on 'Egyptology for the Twenty First Century' - but the title allowed this. The design is so cleverly constructed with a definite element of symmetry to all the weird and wonderful 'additional extras' (like the cat - the Egyptians loved cats, the C.Ds, the palm leaf and aniseed embellishing on the hessian structure' etc.) The blue sticks and royal blue and bright red (almost neon orange) sisal/jute mop heads add appropriate and necessary colour and make the design POP! A well thought out design with a great sense of fun which would be appreciated by twenty first century audiences. (South African judges)

A very colourful design with some interesting elements but there is some lack of cohesion caused by too many accessories. (Zimbabwean judges)


HIGHLY COMMENDED - BABSIE OOSTHUIZEN GBU SA

The Judges comments : This piece is simple, yet very contemporary and also recalls the Egyptian love of geometry, regularity and quite static rhythms. The plant material used - papyrus stems and heads and dried lotus lily heads - is extremely appropriate. Well done! (South African judges)

A very neat, striking and creative design. (Zimbabwean judges)


COMMENDED - JOY SMITH WCAFA SA

The Judges comments : A very unexpected piece. Clean, contemporary and definitely delivering Egypt into the twenty first century in a simplistic, minimalistic and geometrical way using appropriate colours and plant materials. Is the cloth in the bottom glass cube required? (South African judges)

A very clever design that has been neatly assembled. What a pity the horizontal line of blue painted dry acanthus mollis stems is too long and subsequently overbalances the tripod of papyrus stems. (Zimbabwean judges)


COMMENDED - ANNALIE VAN DEN BERG SA

The Judges comments : A lively, modern concept - not sure if it is twenty first century, however! The two containers appropriately reflect the Egyptian period and are made to work well together even though they are so different. The bulrushes and papyrus grass are excellent choices of plant material and they, together with the arum lilies, have been used to reflect the Egyptian lover of order and geometry. (The two recessed arums give the design depth and repetition.) A very pleasing design which so easily could have been given a more contemporary edge. (South African judges)

A very neatly assembled design with good class value. (Zimbabwean judges)

 

DURBAN FLORAL ART CLUB MEMBER ENTRIES

 

PAULA MONK 

OTHER ENTRIES :

ELAINE BEDFORD UK

ELSA KOLVER SA

FRED DU PREEZ SA

GLENDA ADAMS SA

LYNN DELL SA

RIFAT ABID PAKISTAN

RINA MARIA SCHEPERS SA

TERTIA DU PLESSIS SA

ZENOBIA BOSCH SA

BRENDA HOLTZHAUSEN SA

 

 

FOR THOSE FILLED WITH EMOTION

CLASS 13  -  COMPOSED WITH PASSION

I have spent hours trying to find a good image for 'Composed with Passion' but have given up and just posted a picture of passion flowers which I think are breathtaking in their complexity. (I was actually looking for Tom Hulce playing Mozart in the movie 'Amadeus' but couldn't find an appropriate picture.)

This is another small class of just eleven designs. Isn't it crazy how easily we can interpret 'Anger', yet 'Passion' is just so much harder?

What is passion? O.K. - let's rather not go there. What is 'Composed with Passion'? It is something that is made that looks like it has the hand of God in it. It is music that feels like it has come directly from heaven; it is watching an athlete who has honed his skill so that he moves with the grace of an angel; it is a painting that speaks directly to the soul; it is food that looks and tastes so wonderful that part of you doesn't want to eat it but when you do, you just can't stop. I can go on and on - but I think you get the idea.

All one had to do here was create a wonderful design that gave the judges' goosebumps. Simple, really. (NOT). Kim Zimmerman

1ST PRITESH SHAH KENYA

The Judges comments : A very well executed circular design which has been created with passion and good planning. The dominant red colour is well placed to attract attention and leads the eye to the centre of the design for visual impact. The circle seems to represent passion and endless love. The designer has chosen a variation of excellent textural contrasts. The 'curly' vine gives rhythm and depth. The design is harmonious and a pleasure to look at and enjoy. The visible leg of the stand is a little distracting but it is a good idea to lift this piece. (South African judges)


2ND LOCIA HARTZER GFU SA

The Judges comments : A well executed harmonious vertical design. The dark pink colour represents passion. The rough of the bark and the smooth anthuriums create textural contrasts. Rhythm, space and balance are created by the use of green swirls. A swirl at the right side with more volume would ensure a better balanced design. Also, the stem of the vertical design could be longer to give the eye a better upwards flow. (South African judges)

3RD VERONICA FRANCA SA

The Judges comments : A well executed vertical design with good length. The design evokes a strong Christian message of the Passion of Christ. Clever use of plant material interprets this message well. The thick spathe in the centre represents God. The well placed dominant red flowers represent God's love and the blood of His Son; the thorns represent the crown placed on Christ's head as he died for man's sins. This is a well balanced design with intricate negative spaces. Lots of rhythm is created by the flow of the red carnations and the spaces between the thorn branches that brings textural interest throughout the design. The placement of the plant materials leads the eye through the design effectively. Well done. (South African judges)


 

DURBAN FLORAL ART CLUB MEMBER ENTRIES

REHANA ALLY 

 

OTHER ENTRIES

BUSHRA MAQSOOD PAKISTAN

FARRAH AZAM PAKISTAN

 

LENIE BEUKES SA

LEON HEFER SA

MARTIE VAN ROOYEN SA

NASREEN ANWAR PAKISTAN

SAMIDHA ARORA KENYA

 

 

CLASS 12 -  REPRESSED ANGER

As this class has thirty entries, I'm guessing we all understand anger! (At least a lot more than we do 'Street Culture', 'Low Saturation' and 'Playfully Out of Proportion'!!)

'Anger' immediately makes us 'see red' so it is an obvious colour to bring to this interpretation. A lot of people thought about the 'textures' of anger so used thorns or other suitably rough plant materials to convey this emotion.

But, there was that word 'Repressed' to consider and there are an abundance of clever ways to bring a feeling of being 'pushed down' or 'held back' into a design as you will see in the entries in this section.

What is 'repressed anger'? It's the anger you try to hide from the world and keep inside. That feeling of wanting to want to smack someone - but you can't. And, while it's all very well to behave in a civilised manner, repressed emotions need to put themselves somewhere eventually. Especially if you're covering them up with smily face and a happy attitude too.

I hope that all of the entrants who tackled this design, got rid of a little of any repressed anger they may have had!

Enjoy the looking while the poor chap above just about explodes with his pent up emotions! Kim Zimmerman

1ST JILL HOSKIN  ECFAA  SA

The Judges comments : An outstanding interpretation and exhibit. The angry spiky line is repressed by the two ‘lips’ of spathes. Striking simplicity at its best! Very well done indeed!! (U.K. judge)

This succinct design POPS out at you for its simplicity. Less is more!

The designer so artistically encapsulated the theme within the solidness of the two palm spathes, placed in the horizontal position, creating a window of space to showcase the ‘repressed anger’ being held deep down in the unconscious. This tells the story in a remarkable way, with the use of so little in the way of material, but so cleverly chosen.

Eugenia berries placed on the vicious acacia thorns displays severe pain. On the other hand, with this type of emotion there is always softness expressed as shown in the use of the hibiscus flowers, as a stark contrast to the other forms. Perhaps these were a little light and flimsy. Unfortunately, the attachment of the palm spathe to the stand is visible and there is a noted blemish on the upper spathe. (South African judges)

LOCIA HARTZER GFU SA

The Judges comments : What a soulful and dramatic interpretation! There is a strong feeling of sinister turmoil in this design, almost of hopelessness. The presentation, against a sombre background in subdued lighting, is fabulous.

A variety of textures appear in a strong grouping effect, with shine, rough and smoothness coming through. This is enclosed, with clever placement of painted cane, giving the design rhythm, depth and strong movement.

The container and plant material combine to form a harmonious unity. A strong and clever design. Well done. (South African judges)

Dark, evil anger repressed by black rhythmic bands. One could also believe that these bands have controlled the spikes of anger so much that their intensity of colour has become repressed as well. Excellent design. (U.K. judge)


3RD ALICJA  KOWANLCZYK AUSTRALIA

The Judges comments : An excellent interpretation! The sphere form created from flowers and peppers in red really gives the feeling of anger. Also, the subtle idea that with that many chilli peppers my mouth, I would be very angry, there is a subliminal addition to the interpretation. The three layers of caging and control of the 'repression' give good rhythm to the exhibit. (U.K. judge)

The display of this design presents itself as an optical illusion giving it amazing depth. It is impressive in its minimalism and the central ‘heart’ is eye pulling and indicative of ‘repressed anger’.

The spatial element is creatively expressed. Nonetheless, the entanglement of the twisting curved branches is very clearly noted to be attached distinctively on the front portion of the frame only. The ‘fixing’ points of the branches need to be tidied up as do the cut off branch ends. The chillies could have been more evenly distributed. (South African judges)

VERY HIGHLY COMMENDED - DOROTHY VORSTER NWBU SA

The Judges comments :An extremely neat execution of a minimalistic horizontal design which features great rhythm and movement. The crossed sticks show 'confused and conflicting anger' but the spaces between them convey the feeling of having to 'repress' this. The sharp cropping of the xanadu leaves further expresses the ‘down-trodden’ feel of this strong emotion and the cohesive grouping of anthuriums adds more colour to the anger.

This piece is an harmonious whole presented in an very artistic and stylish way. Well done. (South African judges)

A well staged design. Red hot anger is being restrained by the 'cage' of red branches. (U.K. judge)

HIGHLY COMMENDED  -  ANESU MUNENGWA ZIMBABE

The Judges comments : A really strong feeling of ‘Repressed Anger' is conveyed in this piece. The red croton foliage in single leaves could have been repeated a couple more times. However, the simplicity of this design is very powerful. (U.K. judge)

The original concept, line and the use of the brilliant black and red codiaeum leaves are all ideal choices to depict ‘anger’. The contrast created between the codieaum leaves and the dried aloe, together with the spikiness of the acacia thorns create the emotion of ‘repressed anger’. However, the design could have been further developed by adding more codiaeum leaf placements to create better scale and proportion. The inclusion of red cane to create continuity and direction strengthens this design. Nevertheless, the heavy black steel frame is too dominant for the lightness of material content. The visible cable ties of the ‘fixing points’ detract merit from the neatness and finish of this design. (South African judges)


COMMENDED - NAINA SHAH KENYA

The Judges comments : A lovely exhibit. The red chillies and spiky thorns convey anger. 'Restraint' is conveyed by the plant material being partially contained in the glass vase which also gives a more decorative feel to the design. This is an alternative solution to using plant material to convey the necessary 'repression'. (U.K. judge)

Using red as the dominant colour and representing the ‘anger’ in this design, together with the collective choice of plant material displays a certain understanding of the theme. The two creative dried chilli balls display textural contrast against the smooth and shiny chillies. However, had they been incorporated within the design, they would have added much more value.

The choice of glass for this title is unfortunate as it interprets visibility and reflection. ‘Repression’ calls for non-visibility, but the glass further magnifies the plant material therein. The condition of the chillies is not pristine. The ‘repressed anger’ should be more contained and shown as ‘held down’ or ‘pushed down’ instead of appearing to be overflowing. (South African judges)


DURBAN FLORAL ART CLUB MEMBER ENTRIES 

PAULA MONK KZNAFA SA

 

 

OTHER ENTRIES 

ANGELA HEFFRON IRELAND

ANN CLIFFORD IRELAND

ANN PETERS CANADA

ARUNA SHAH KENYA

BRENDA EKSTEEN SA

CORRICE HOLMES SA

DEWALD VERMAAK SA

EWALD WESSELS SA

FAYE FENN KZNAFA SA

HANNELORE HENRY  USA

 

HUMA EHSAN PAKISTAN

JEANETTE HAVENGA SA

JOYCE WIHNAN CANADA

LEON HEFER SA

LOUISE COMBRINCK SA

MEENA SHAH KENYA

NAYDENE SMITH SA

PRITESH SHAH KENYA

 

PRIYA SHAH KENYA

RENEE VAN TONDER SA

RUBY AIJAZ PAKISTAN

SAJEELA AFZAAL PAKISTAN

SALMA ANSARI PAKISTAN

 

 

FOR 'PRINCIPLED' DESIGNERS

CLASS 11  -  PLAYFULLY OUT OF PROPORTION

This section has twelve entries probably because designers spend a lot of time trying to get scale and proportion correct in their work, that to undo all of that learning and go in the opposite direction is too contrary to many hours of teaching and discipline.

However, playing with proportion is one of the ways to create contemporary design. Those 3:5:8 classical proportions of 'so called perfection' are not what today's eye seeks - so start playing with your well established sense of proportion and you'll find new looks suddenly appearing that actually look fabulous.

This section asked for designers to get playful with their 'playful proportions' so competitors could really do something quite 'over the top' and get away with it.

Kim Zimmerman

 

1ST MICHAEL CORDEIRO AUSTRALIA

The Judges comments : There is great distortion in scale and proportion in the line and forms of this design. A less busy background and better photograph would have been a great benefit. (It needs to be said that this is not an entirely original design.) (South African judges)

The structure is out of proportion compared to the container and the daises. Beautiful 'play' has been created with the twist at the top of the design. Well done. (Kenyan judges)


2ND MALCOLM KITT IRELAND

The Judges comments : The small lemons are totally out of proportion compared to the bold container. The dried plant material on top gives a 'sparkling' effect and combined with the complementary colour scheme gives a wonderful feeling of 'play'. (Kenyan judges)

A very well staged design using a complementary colour scheme. The minimalistic approach is so appropriate for this piece. The contrasts in texture and colour are excellent but size and proportion are not distorted fully enough. More small sized yellow plant material would have created a greater feeling of 'out of proportion'. The base placement is unnecessary and distracts from an otherwise well harmonised design. (South African judges)


3RD RUPAL CHANDARIA KENYA

The Judges comments : A great playful design in complementary colours. Excellent craftsmanship is evident. The proportional distortion in line, form, space and colour creates an exciting dynamic design. Well done! (South African judges)

Excellent play, rhythm and good internal spaces have been created with the midellino sticks. The anthuriums and spheres are not in proportion with the midellino structure/s. (Kenyan judges)

 

OTHER ENTRIES

ALTHEA HIGHAM SA

ANJNA BECKRA KENYA

BHAWANI BANSAL  INDIA

GAIL TAVERNER SA

HAZEL LAING SA

KIM ZIMMERMAN SA

LEA ROMANOWSKI CANADA

RHUKSANA RATTANSEY PAKISTAN

SALMA ANSARI PAKISTAN

 

CLASS 10  -  HIGH CONTRAST, LOW SATURATION

O.K. - so I've decided that we don't have many principled designers around who are willing to take up a challenge. Both classes in the 'For Principled Designers' section were poorly supported.

Class Ten was called 'High Contrast, Low Saturation' and this is a difficult title to interpret but I believe there was one person who really did well in this class - which means it can be done!! (Oh - there are other good designs too - don't worry!)

Low saturation refers to low colour saturation and I have included some pictures below which show what low saturation looks like. All colours have to be very watered down i.e have weak chroma. You can tweak your camera to take a photograph with low saturation if all else fails. However, doing this makes achieving high sharp textural contrasts difficult. But contrast can be achieved in many other ways - by using contrasting lines and forms, for example.

Class Ten did require a lot of thought - but sometimes this makes great art. Sometimes, it doesn't though.  Kim Zimmerman

 

1ST PRITESH SHAH KENYA

The Judges comments : A very good presentation. A greater quantity of smooth elements would create even stronger contrast in this design. 'Low saturation' has been very well achieved by this exhibitor. (Zimbabwean judges)

A really exciting design with great contrasts in form and a good use of colours that are not highly saturated. The use of space and texture is very well executed. Perhaps, the echeveria need to be slightly moved to the left for absolute perfect balance! (South African judges)


2ND GLENDA ADAMS ECFFA SA

The Judges comments : Wonderful movement through space in a superb design. Excellent use of appropriate colour has been carried throughout this piece. The forward curving piece of ‘stressed’ wood, though very exciting, is quite dominant and the echeveria rather small in comparison. Very neat mechanics have been used throughout this design. (South African judges)

A lovely sense of rhythm is displayed in the “pony tail” of grasses. However, more visual weight is required in the top placement of echeveria. (Zimbabwean judges)


3RD  -  KATHLEEN POTTON WCAFA SA

The Judges comments : A superb design of mixed textures and a low saturated colour landscape that perfectly fits the title. A great piece of artistry. (South African judges)

An interesting and creative design but there is very little contrast shown between elements. (Zimbabwean judges)


DURBAN FLORAL ART CLUB MEMBER ENTRIES

COGIE THAVARAYAN KZNAFA SA

 

 OTHER ENTRIES

FARIDA KALIM PAKISTAN

KIM ZIMMERMAN UK

LEA ROMANOWSKI CANADA

LORRAINE ROSE   SA

TABASSAM RIZVI PAKISTAN

 

 

FOR LOVERS OF CONTEMPORARY COLOUR

 

CLASS 9  -  STREET CULTURE

This class had a paltry seven entries and this is probably because most of us, if we are totally honest with ourselves, live in lovely suburban enclaves and have little idea of what 'Street Culture' is all about and how much it influences our lives in insidious ways.

'Street Culture' is everywhere in densely populated urban areas, especially where people are having to hustle to make ends meet. These are the savvy souls who know how to get the most for the least and who 'have contacts who have contacts' who can get them 'a something' and you don't want to ask how legal the process is. These people speak their own lingo, dance to their own music, make their own art, create their own fashion and entertain themselves where there is often high risk involved.

And while we may shudder at all of this - guess where the newest fashions, the coolest slang and the most trendy cuisine comes from - the street, my brother!

So, this section was interesting in that it produced some very diverse work - from graffiti, to market culture, to a desolate street of an old manufacturing town to a very graphic piece which represents what it must be like to live on streets where drugs and violence are everyday.

This section was not about producing chocolate box flower designs - this section was about grit and how things are tough for a lot of people. If we want floral to be art, it doesn't have to be pretty, it's got to sometimes 'pack a punch' and just be meaningful.  Kim Zimmerman


1ST - GEETA SHAH KENYA

The Judges comments : A colourful exhibit depicting graffiti. The flat profiles of painted dried fan palm at the left and right periphery visually impede the rhythmic effect of the rest of the components. The stargazer lilies and baubles are too decorative for an interpretation of graffiti. A pleasing exhibit but not daring or dynamic enough for the theme. (Kenyan judges)

This is a superb design with plenty of rhythm, pattern, form and bright colours that have strong 'street culture' characteristics. The big bold brush strokes suggest, ‘I own this wall’. Beware of visible mechanics like cut off ends of wire. When using baubles, make sure the 'open tops' are not visible. In this design, all components speak so well to the theme which makes it exciting to look at. (South African judges)


2ND - LEA ROMANOWSKI CANADA

The Judges comments : Superbly angled and positioned heliconias create a 'hiphop' vibe. Touches of colour thereon tie in with the graffiti aspect of street culture. The metal strips perhaps suggest rollerblades or at least an urban environment and enhance the design and interpretation. The concept is understated yet highly effective. Well done! (Kenyan judges)

A strong design that is a bit too sophisticated; unlike street culture, that is informal, colourful and has plenty of movement. The strong purple and orange colour of the beautiful heliconia is very striking, but adding some more vivid or even neon colours and components with strong movement and rhythm would have given the design more of a 'street vibe' and better class value. The design is very neat and has been well staged. (South African judges)


3RD  -  HARSHIDA SHAH KENYA

The Judges comments : A vibrant urban street culture design. Bright colours and crosshatched lines have been used to good effect. The design would have been more striking and interpretive had the designer only used geometric lines and shapes and less recognisable plant materials. That being said, there is good contrast between the strong diagonal lines and the curled lines of the kelp and the blue dried strelitzia leaves that give wonderful movement. A piece of silver pipe, which is part of the stand, is protruding at the top right-hand side and detracts from the strong diagonal line. (South African judges)

A competent attempt to depict graffiti. The fences of dried yucca leaves need to be more vividly coloured with more space between each leaf, and positioned higher on to the screen to enable the top one to project further out to the left at a more dynamic angle for excitement of interpretation. The placement of dried anthurium leaves, bromeliad spikes and burgundy foliage at the left not only emerges as a separate design but also creates heaviness and imbalance. It is unconnected to the theme. (Kenyan judges)


HIGHLY COMMENDED - CRYSTAL TROJEK CANADA

The Judges comments : A restrained approach to design which is stunning in its stillness and simplicity. It makes a little speak volumes. There seems no component which can be added or eliminated. Perhaps rather too sober for ‘Street Culture’ unless a title card was included which would enlighten the judges on the intended interpretation. (Kenyan judges)

This is a very beautiful, calm design - but it does not interpret 'street culture'. It has a strong urban feel and seems to depict a deconstructed building. But, it lacks the vibrant colours and movement of 'street culture' and therefore does not have much class value. The components in this design could have been replaced with bright neon-coloured pieces and lines that have plenty of movement and rhythm. The choice of the black container and vertical lines is great and is a good starting point on which to create an effective design. (South African judges)

 

OTHER ENTRIES

JAYNA SHAH KENYA

 

MICHAEL CORDEIRO AUSTRALIA

PRIYA SHAH KENYA

 

 

CLASS 8  -  PANTONES COLOURS OF 2021 - ULTIMATE GRAY & ILLUMINATING YELLOW

(create a design to help Pantone advertise this fact)

For 2021, the United States' paint brand’s team of trend forecasters selected two shades – 'Ultimate Gray' and 'Illuminating'. This is only the second time two colours have been chosen together in the Colour of the Year’s two decade history.

Used by fashion, graphic and interior designers, the Pantone Institute’s colour matching services are a resource for predicting palettes that might prove popular with consumers. Their colour of the year choices are often contentious.

This year, the combination has been likened to the shades of 'hi-vis' vests, road markings and 'screaming sickly urban melancholy, a brutalist facade, cold sunshine and cement'. Vogue described it simply as 'really weird'.

Pantone say their choices this year reflect 'a message of happiness supported by fortitude'. But darker readings of 'Ultimate Gray', a pale shade of dove they liken to 'pebbles on the beach and natural elements', aren’t hard to come by. The track pants we’ve all been pulling on each morning; the sameness of days blurring into one another; the vinyl floors of an ICU ward.

Their second choice 'Illuminating' is a buttercup yellow, which Pantone describe as 'bright and cheerful'; 'sparkling with vivacity' and 'imbued with solar power'. It is the first time in over a decade a shade of yellow has been chosen. In 2009, when they selected a warmer yellow, 'Mimosa', they said, 'No other colour expresses hope and reassurance more than yellow'. A lot may have changed in ten years, but it seems Pantone’s interpretation of yellow has not. Kim Zimmerman

 

1ST  -  ANJNA BECHRA KENYA

The Judges comments : A beautifully presented, rhythmic exhibit. All components are well displayed and placed to create maximum perspective. The use of positive and negative space has been well considered. An excellent interpretation. (U.K. judges_

A well constructed design with pleasing scale and proportion. Colours are well incorporated into the design and class value is high. Sometimes, conflicting lines interfere with the visual flow. (South African judges)

 

2ND  -  ARTI DOSHI KENYA

The Judges comments : A beautiful, well-balanced design with fabulous rhythm which depicts the class theme well. Unique use of textures and line provide a surprisingly fresh approach. (South African judges)

A carefully thought-out exhibit. Good use of proportion in colour selection with the grouped craspedia making a good focal area. There is a variety of textural interest but the top senecio leaves are rather haphazard in placement spoiling the presentation. The looped midelino sticks are a little untidily grouped. (U.K. judges)


3RD  -  BINDYA SHAH KENYA

The Judges comments : A superbly constructed and extremely well executed design. Good choice of plant materials and additional components. Illuminating yellow and ultimate grey are used with such confidence! A powerful presentation! (South African judges)

A strong contemporary exhibit with both pantone colours well used in fresh and dried plant materials. Line has been cleverly used to create various rhythmic placements, curved and straight, with space well utilized. The exhibit is a little top heavy on the right hand side where there is an over-abundance of circular shaped material. The dominant dark grey vertical grouping at the centre, splits the design into two parts making it visually unbalanced. (U.K. judges)


VERY HIGHLY COMMENDED - DI COCHIUS GFU SA

The Judges comments  :  A fascinating exhibit. Bold lines horizontally provide good rhythm. The fine plant material at the base requires a stronger grouping to improve the visual weight on the right hand side. (U.K. judges)

A gorgeous design with high class value. The use of plant material is very imaginative. It is so sad that the yellow is not correct. This is yellow-green and not illuminating yellow. (South African judges)

 

HIGHLY COMMENDED - ODETTE PAXTON WCAFA SA

The Judges comments  :  A well executed contemporary design with lots of detail. Yellow and grey are very well integrated into the design. A design with excellent class value. (South African judges)

An immaculate exhibit, beautifully staged with delightful use of textures and forms. Placing some smoother plant material lower in the design would improve the proportions and overall rhythm. (U.K. judges)


COMMENDED  -  ANESU MANENGWA ZIMBABWE

The Judges comments : Flawless concept, technique and choice of plant material. This design is very well executed in its simplicity using only the two colours required. Very good balance and depth has been achieved. (South African judges)

An imposing design. The craft work is excellent and the interlocking panels provide a true sense of perspective and depth. The line of gerberas brings the eye straight to the stand. The twirled wire brought down to the base would have provided stronger unity. (U.K. judges)


COMMENDED  -  GEETA SHAH KENYA

The Judges comments : A creative concept that has been very well executed. Unusual plant material and components are very refreshing. Unfortunately, the colour of the small leaves are not correct. (South African judges)

There is very strong use of textures throughout this exhibit. Beautifully rolled leaves and good finish to craft work is evident. Extending the yellow pods across the top of the main leaf would improve the rhythm and balance. (U.K. judges)


COMMENDED  -  SHAISTA KHAWAR PAKISTAN

The Judges comments : A very good interpretation with bold use of diagonal rhythm and clear contrast of colour and form. Incorporating a few more chrysanthemum flowers high left would enhance the overall balance and visual weight. (U.K. judges)

Well designed and executed. However, the grey is too overpowering. More yellow in the composition would have made all the difference. (South African judges)

OTHER ENTRIES

PRIYA SHAH KENYA

RINA-MARIA SCHEPERS SA

SHEILA GILBERT IRELAND

TALAT HASHIMI PAKISTAN

ALMA BADENHORST SA

AMELIA LOUBSER SA

AMNA ABBAS PAKISTAN

DIANA WEIBEL SA

EWALD WESSELS SA

GLENDA ADAMS SA

GULANDUM MOSHIN PAKISTAN

HELEN CUSACK IRELAND

JAYNA SHAH KENYA

JOANNE RACHFALOWSKI CANADA

JOY CHAPMAN SA

JOYCE WIHNAN CANADA

LEA ROMANOWSKI CANADA

MARLA CHERNOFF CANADA

MERLE CHRISTIE SA

 

NABILA SHAH PAKISTAN

NASREEN MAZRAH PAKISTAN

NIMITA SHAH KENYA

PAMELA GALLOWAY UK

PARVANA MAQSOOD PAKISTAN

 

 

 

 

FOR LOVERS OF PATTERN, SHAPE AND FORM

 

CLASS 7  -  GREEN ARCHITECTURE

'Green Architecture' was the final class in the 'For Lovers of Pattern, Shape and Form' section so hopefully the judges were still on the look out for good use of all these elements when they assessed this class.

'Green architecture' is a buzzword (I know it's two words, but you know what I mean) of the present day. Architects seek to build structures that are more in tune with the landscapes they inhabit and that are made from materials that are environmentally friendly and energy efficient. As climate change becomes a reality, structures need to made to withstand the vagaries of the weather; they need to be able to cool or warm themselves in a way that doesn't increase our carbon footprint and bring water to us that can be recycled for use in the garden.

All of this is very difficult to interpret in floral art (although a couple of our entrants did try) but what this section did require was competitors to use green and to build something architectural by using construction and structure work in their designs. Kim Zimmerman


1ST  -  MARJOLIJN MALAN WCAFA SA

The Judges comments : An excellent, artistic design and outstanding interpretation. The use of the sticks is inspired and adds to the interest and originality. The choice of colour is unconventional but works extremely well in this design. The appropriate plant material is in excellent condition. Congratulations on a wonderful design. (South African judges)

A pristine selection of green botanicals creating great impact to interpret the title. The majestic agave towers in union with the pineapple lilies and sansevieria and create good depth, balance and synchrony. The staggered wood pieces threaded unto the agave leaves is a clever mechanic as well as a decorative element creating rhythm and movement. Very well executed. Congratulations! (Pakistani judges)

2ND  -  DEWALD VERMAAK OBU SA

The Judges comments :  An innovative, clever way to depict the title. The combination of the various components and techniques make for an engaging design. However, the interpretation does not reflect the title as strongly as it could. But, well done on a different approach. (South African judges)

A well balanced rhythmical structure with a central placement of pristine green botanicals making a statement with their form and colour. The blue green circles are adding contrast and variation. The vegetables and various greens grouped give a strong focal area. (Pakistani judges)

3RD  -  BINDYA SHAH KENYA

The Judges comments :  This design has a distinctly architectural feel. Effective use has been made of modern techniques such as rolling, stacking and fencing. Colour and textural variations have been introduced to achieve a pleasing design. Tighter fencing would have prevented the material from sagging (on the left). Well done on a great effort! (South African judges)

A well-executed modern design using many techniques well. However, the repeated lines are a little monotonous. (Pakistani judges)

 

VERY HIGHLY COMMENDED  -  DIANA DE VOS WCAFA SA

The Judges comments : A very neat presentation of varied leaves thoughtfully put together to cover the structure. The close proximity of the background makes the design static because the sense of depth and dimension is lost. The two heavy leaves could have been raised much higher for better impact and good proportion. (Pakistani judges)

Floral has definitely become art in this exciting composition. Different, interesting leaf applications form the focus of this design and good use of space has been achieved. The plant material is in pristine condition and has been well managed. The colour of the base tends to distract. (South African judges)


HIGHLY COMMENDED  -  DI COCHIUS GFU SA

The Judges comments :  The structure clearly depicts 'Green Architecture' and good pattern, form and shape are evident. The design has been neatly executed. The placement of the philodendron leaves adds flair. While the interpretation is good, the design does tend to be rather heavy. (South African judges)

A highly commended, very well balanced design; the variation of leaves used in blocks creates interest. The light string beans break the harshness of the structures used. The green wire and apples draw the eye inwards and outwards. The sculptured leaves add poise to the design. (Pakistani judges)


COMMENDED - DE MARA BEZUIDENHOUT  SA

The Judges comments : Pattern, shape and form are evident in this exciting design. It has a modern feel achieved by clean lines and suitable material that is in pristine condition. However, the architectural interpretation does not come through very strongly. Well done! (South African judges)

A dynamic design with great use of the required colour - green. Clean, clear cut lines give a sculptured look. The dyed dark green moss adds textural interest to the design. Well presented. (Pakistani judges)

COMMENDED  -  LEA ROMANOWSKI CANADA

The Judges comments : An excellent interpretation of the class title. The concept is so simple yet it conveys the message of the title very well. The design is neatly executed and plant material is in good condition. Well done on an impactful idea. (South African judges)

The flax leaves with the cutouts lend an architectural effect to the design. Use of space is very good. The base could have been square or rectangular to enhance the tall structure and go with the beautiful skyscrapers. (Pakistani judges)

 

DURBAN FLORAL ART CLUB MEMBER ENTRIES

COGIE THAVARAYAN KZNAFA SA

 

VERONICA LAVOIPIERRE KZNAFA SA

 

CHERYL GRIFFITHS KZNAFA SA

 

OTHER ENTRIES

AMNA ABBAS PAKISTAN

ANETTE GOUWS SA

ANNELIE VAN DEN BERG SA

ASMA ANSARI PAKISTAN

COBUS CONRADIE SA

EWALD WESSELS WCAFA SA

GERDA STOLS SA

GHAZALA  JAVED PAKISTAN

HARASHIDA SHAH KENYA

JOAN MCBURNEY UK

KATHLEEN LANG CANADA

LANNY PRAMANA AUSTRALIA

MALGOSIA ZAPALA CANADA

 

MARGARET BREAKS UK

MICHAEL CORDEIRO AUSTRALIA

PAMELA GALLOWAY UK

PRATIBHA TEWARY KENYA

PRIYA SHAH KENYA

SUNA MALHERBE SA

SUNITA KANORIA INDIA

ZENOBIA BOSCH SA

 

CLASS 6  -  A CONTEMPORARY RADIAL DESIGN

Class Six's, 'A Contemporary Radial Design', also fell into the category of 'For Lovers of Pattern, Shape and Form'.

It required a design with a strong radial point or points and lines of radiation from this point/s for drama and emphasis.

We usually associate traditional design with a single focal area from which all lines radiate but this class wanted a contemporary design - not just a modern one!!

So there were challenges aplenty. I thought everyone would opt to create some wire 'spider webbing' and go from there but competitors had other ideas.

There were a couple of spirals - and I suppose that is radiation of a sort - but let's not get caught up in semantics. Kim Zimmerman

 

1ST - LEA ROMANOWSKI CANADA

The Judges comments : A dramatic and striking design, full of radiating angles and movement, which creates a great interpretation of the class title, without too many components used. The bent equisetum gives the design a fresh and contemporary feel. Although the container is fairly small, the black colour and placement of the cynaroides protea grounds the design which is well balanced. The white background shows up the design beautifully. Well done. (South African judges)

This minimalist design says 'contemporary'. The lower placements of the equisetum on the left and right disturb the rhythmic pattern. (Canadian judges)

2ND - COBUS CONRADIE WCAFA SA

The Judges comments : This design has strong radial movement with the excellent usage of the chamaerops palm leaves. A design with good class value has been created. The contemporary, bound ribbon circles achieve depth and interest because they have been cleverly placed. The echeveria and ovate leaves in the centre give a good change of texture and colour and this is enhanced by the pinkish tone of the palm pedicel crossing the lines of the radial movement. The background complements the design. Well done on an excellent interpretation. (South African judges)

A pristine example of a contemporary radial design. (Canadian judges)


3RD  -  KAREN FERREIRA SA

The Judges comments :  A lovely contemporary radial design with great class value. The spiral palm spathe adds weight and movement to the centre section of the design and balances the protruding radial sticks. There is a sense of energy in the design and the straight, wire bound sticks further enhance the radial effect created. The colours show up well against the black background and this also adds drama to the design. Well done. (South African judges)

This interesting design combines elements of a spiral design and a radial design. Disparate radial parts contribute to an overall lack of harmony. (Canadian judges)

COMMENDED - WIQARUNNISA BOOLANI PAKISTAN

The Judges comments : A celebratory contemporary radial design created by using two neatly strung mauve circles. The palm leaves are a good choice as the radial lines are evident in each leaf. Good depth has been created by placing the palm leaves in-between the circles and behind the back circle. The inside placement of Stargazer lilies are beautiful and further enhance the strong colour scheme. However, the palm leaves have created too many radial lines and the sticks placed on the outer circle are lost. If the palms had been cut to follow the circles, the design would have been enhanced.(South African judges)

Depth and layering is well achieved in this design. The unevenness of the radial placements on the left side disturbs the design’s balance. (Canadian judges)

DURBAN FLORAL ART CLUB MEMBER ENTRIES

ROSEMARIE BLAIR KZNAFA SA

OTHER ENTRIES

ALTHEA HIGHAM WCAFA SA

BARBARA VERITY SA

ELMIEN RAVENCROFT SA

ELSA KOLVER SA

GULANDAM MOSHIN PAKISTAN

HELEN CUSACK IRELAND

JILL HOSKIN ECFAA SA

KATHLEEN DEAN UK

MALGOSIA ZAPALA CANADA


MARIE CLAASEN SA

NAINA SHAH KENYA

PRAVINA SHAH KENYA

RAFIT ABID PAKISTAN

SALIMA FEROZ PAKISTAN

SANDRA WILLIAMSON UK

SCHALK VAN DYK OBU SA

VERONICA FRANCA SA

VIBHA DODHIA KENYA

 

CLASS 5  -  A SYNTHESIS OF FORM AND COLOUR

This class also fell into the 'For Lovers of Pattern, Shape and Form' category.

It was not a wildly popular class and only started to fill up a little once other options had run out. I think people over thought this title and didn't know how the heck they could synthesise form and colour instead of just breaking the title down and realising that they had to synthesise the shapes or forms and synthesise the colours they used- i.e. pick a form and repeat it with slight variation and pick a colour scheme and use it. There were no tricks - just separate out the two requirements.

I have included a couple of pictures by Paul Klee who worked a lot with the concept of synthesis of colour and form. In both pictures, he plays with repeated shapes (Klee was actually a draftsman). The 'red' picture is called 'Castle and Sun'. It is overwhelmingly composed of rectangles, squares, triangles and then, a single circle which obviously represents the sun. Because the red is so dominant, he can get away with the arbitrary placement of some bright yellow, blue and green without a feeling of colour disharmony creeping in.

The more achromatic and neutralised piece (called 'Three Houses and a Bridge') uses more circles but they are all the same size and colour. The triangular shapes must represent the bridge. Whatever Klee was thinking, these pictures work because he has used repetition of shape kept to a restricted colour palette.

This was not a difficult title - flower arrangers all have dozens of circle and spheres so synthesis of shape/form should not be a problem for any of us. Working with colour effectively with those forms, is the real challenge.

Can you see how cleverly Klee has used darker tones to create depth. The lighter and brighter shapes definitely come toward the viewer.

Another artist who played a lot with synthesising shape and colour was Kandinsky, so go and have a look at his work too. Kim Zimmerman


 

1ST - JILL HOSKIN ECFAA SA

The Judges comments : The cane frames with varied textural infills have been skilfully constructed. However, their sheer multitude seems overwhelming and makes the exhibit appear as a collection of shapes rather than a synthesis of form. The scattered and dotted flower placements lack visual scale, strength and cohesion in relation to the frames. Visual resting place(s) or areas of good dominance are absent. A black base would improve staging. (Kenyan judges)

An outstanding interpretation of the theme using a monochromatic colour scheme. This exhibit is neatly presented and 'technique' filled. The principles of design have been well considered. This piece has been executed with distinction and originality. (South African judges)


2ND - JENNIE YU  HONG KONG

The Judges comments : Splendid synthesis and juxtaposition of embedded dried plant material superbly accentuated by fresh. Lines, forms and patterns are subtly repeated throughout creating so much interest and fascination to glimpse into. The spiky material uplifts what could otherwise have been a visually heavy composition. Unusual staging leaves something to the imagination. (Kenyan judges)

A well executed atmospheric, contemporary design. Plant material is used and placed in a creative way. There is very subtle synthesis of form and colour but is it enough? The design lacks class value. (South African judges)


3RD  -  PRIYA SHAH KENYA

The Judges comments : An original design with a lot of effort to achieve repetition of form. It is beautifully executed to depict 'A Synthesis of Form and Colour'. The use of strelitzias in this piece works well to interpret the theme. The playful, rhythmic line throughout the design binds everything together in a pleasing way. A superior design with a great choice of components, good flair and creativity. (South African judges)

Interesting stringing of stacked triangular shapes and cork cones. However, it slings too sharply to the left upsetting visual balance. The predominantly downward facing shapes and cones appear to visually pull the composition to the base. Material with more ‘volume’ is needed to be placed at the right instead of the strelitzias at the left to improve balance. Interpretation is elusive. (Kenyan judges)


 

VERY HIGHLY COMMENDED - ANNE DALE GFU SA

The Judges comments : An extremely well-constructed and impressive design. The repetitive use of colour and form are excellent in depicting this class theme. This is an attractive exhibit with tidy textural components manipulated in a pleasing way. (South African judges)

Interesting technique of gluing bark pieces to the mesh. However, the equidistantly placed anthuriums tend to camouflage against it instead of creating a synthesis. The placement of cylinders at the left and the sphere at the right gives the effect of three separate concepts. (Kenyan judges)


HIGHLY COMMENDED - LENIE BEUKES WCAFA SA

The Judges comments : This design displays superb synthesis of stunning sculptural material rhythmically surrounding the urn-like container in a grand style. Natural, muted and sepia colours are well complemented by accents of fresh material. Unfortunately, the dried aloe spike whose placement detracts from the style, undesirably takes the eye upwardly out of the composition and imbalances the design to the left. (Kenyan judges)

An attractive exhibit with beautiful textural components. Repetition of organic forms is achieved as well as a synthesis of colour with the use of subtle development of this element throughout the design. The vertical top part of the design seems too weak for the much stronger bottom half of the design. (South African judges)

 

COMMENDED - MARIE DECKER CANADA

The Judges comments : A well-constructed design with good balance and repetition of lines, shapes, textures and colours. Overall, better synthesis of colour would have resulted if, rather than using black, white and gray/silver as separate colours, these had been used to create tints, tones and shades of the existing colours in the design. (South African judges)

An immaculately composed and staged exhibit with several 'artsy' touches. Inspired and rhythmic synthesis of shapes, forms, patterns and crisscrossed lines without congesting the space. Lively colour accents. Flower placements in central area lack visual strength. (Kenyan judges)

 

COMMENDED - NEVEEN SYED PAKISTAN

The Judges comments : The groundwork of the parallel style inner placement is well arranged and features several well synthesised forms. Wonderful plant material with good colour synthesis has been used. The inspired ‘surrounding’ with groovy shapes and curves create an 'artsy' vibe. More space between the alpinia foliage would improve the visual co-relation of the inner placement and the surrounding one. The angular shapes could be thicker and 'starry' material larger or grouped, for better scale.  (Kenyan judges)

A beautiful and well executed exhibit that very definitely interprets ' A Synthesis of Form and Colour'. The analogous colour theme and repetition of form is presented with distinction. It is a pity that the 'parallel' part of the design is not better incorporated into the design; it seems as if it has simply been added behind the structural part of the exhibit. (South African judges)

OTHER ENTRIES

NAHIDA RAZA PAKISTAN

RUKSANNA RATTANSEY PAKISTAN

MARIE CLAASSEN SA

FARHANA ANJUM PAKISTAN

MALCOLM KITT IRELAND

SHANDANA BANGASH PAKISTAN

WINKIE MARAIS SA

GRETA FOURIE SA

 

 

 

CLASS 4 - A DESIGN TO COMPLEMENT

A BOLDLY PATTERNED FABRIC

So, Class 4 fell into the new category, 'For Lovers of Pattern, Shape and Form' and I'm sure the judges would have been looking for all these elements in the designs in this class.

Thing is, competitors were challenged to include a boldly patterned fabric - and some people have got strange ideas about what 'boldly patterned' means. The picture below gives you an idea of what was expected - not a one coloured piece with a mild pattern that you had to put your reading glasses on to see. Not if you're from Africa, anyway! And there are no excuses, everyone - there are such glorious fabrics around - and if you don't want to buy a piece, just visit your scarf cupboard.

Competitors had to bear in mind that the fabric couldn't predominate in the design - so they had to be careful to choose something bright that could be cleverly displayed or draped in a subtle way or toned down by the use of suitably brighter plant materials.

And they had to give their design a title - so interpretation was also scored!!

It was a challenge!


1ST - LORRAINE ROSE WCAFA SA

THE BRIGHT SIDE OF LIFE

The Judges comments : Congratulations on a striking, well executed design that portrays the title perfectly. The colour impact is fabulous! It is very clever to have a hole in the centre of the design to minimise the bold pattern on the fabric and also highlight the beautiful plant materials. (South African judges)

A distinguished design, free from imperfection. All components are well balanced and in a perfect scale and proportion with each other. There is beautiful contrast of textures and forms. An excellent choice of plant material of bold colours complement the pattern of the fabric on the panel and create a strong harmony throughout the design. Great interpretation of the chosen title too. (Canadian judges)


 

2ND - RUPAL CHANDARIA KENYA

A BOLD TROPICAL DANCE

The Judges comments : A very neat and well presented piece. The way the fabric is incorporated into the design and the clever placement of the bark and hapene creates fabulous rhythm throughout. A slightly darker shade of pink anthurium would have given better impact and given this design even more 'wow' factor! (South African judges)

An interesting choice of plant materials and their delicate colours create a good harmony with the fabric colours and match and complement its pattern. Deliberately exciting rhythm has been achieved by using skilled techniques, effectively interpreting the title. The design is well balanced with very interesting use of positive and negative space. A little more contrast of forms or colour would create more interest in the whole design and would emphasise the area of dominance. The metal frame at the right top area could have been covered with fabric to finish the design. (Canadian judges)

3RD - ANN CRASTI AUSTRALIA

FLIGHT OF FANCY

The Judges comments : Well done on an original, creative design that complements the fabric so well. We commend you on the outstanding techniques used! (South African judges)

The design is well suited to its title and there is strong relationship between the structural components and the patterned fabric. Plant materials, well chosen for the interpretation, mimic the fabric. However, the chrysanthemums are too large and heavy. Their size and form dominate the design confusing the overall rhythm and movement. The grids are busy and out of scale with other design components. (Canadian judges)


VHC -  PRIYA SHAH KENYA

AFRICAN KITENGE

The Judges comments : A good interpretation of the title with exciting use of the chosen fabric. The design incorporates the patterns, shapes and colours on the fabric to create a visually striking piece. The placement of the large top circle creates a slight imbalance which could be rectified by moving it slightly to the left towards the centre of the design. (South African judges)

A distinguished design, free from imperfection. All components are well balanced and in a perfect scale and proportion with each other. There are lots of interesting contrasts of texture and form. An excellent choice of plant material with bold colours complements the fabric pattern and creates a strong sense of harmony throughout the design. Great interpretation of the title. (Canadian judges)


HC  -  SUNA MALHERBE OBU SA

THE POETRY OF LEAVES 

The Judges comments : Well done on an outstanding design that has been so well executed. The design complements the fabric beautifully and the painting of the foliage is sublime. (South African judges)

Unfortunately, the leaves appear to be getting totally lost in the fabric. Similar textures, colour, and forms make this design rather monotonous. (Canadian judges)

 

C - ALICIA KOWALCZYK AUSTRALIA

RAINBOW HEARTBEAT

The Judges comments : An original interpretation that complements the fabric. The placement of the plant material creates good rhythm and portrays the 'heartbeat' very well. Unfortunately, the base and rose stems detract from the overall design and the photo is a little fuzzy. (South African judges)

A novel design, both artistic and imaginative, displaying perfect interpretation of its title. An excellent choice of bright and bold fabric and use of plant material that complement each other. However, the bare stems and heavy black base seem disconnected from the the top of the design, almost dividing it in two. Maybe, covering test tubes and part of the rose stems with coloured raffia or fabric, would tie in and marry the top and bottom of the design. (Canadian judges)

 

DURBAN FLORAL ART CLUB MEMBER ENTRIES

ROSEMARIE BLAIR KZNAFA SA

FUN IN THE AFRICAN SUN

OTHER ENTRIES

KAREN FERREIRA  SA

BEHOLD THE ZEBRAS ON THE PLAINS

AND SHUDDER AT HIS MIGHTY MANES

AMOS RUDDEROW USA

BLUE SWIRLS

HARSHIDA SHAH KENYA

AFRICAN MAGIC

CRYSTAL TROJEK CANADA

SPRING IS IN THE AIR

SHAHIDA NAWAZ PAKISTAN

LILY LOVE

LIZ PRINGLE KZNAFA SA

PATTERN ON PATTERN

SUMINA HUMAYAN PAKISTAN

FOREVER

STEF BORCHARDS SA

GRACIOUS GREENS

DALENE GRUNDLINGH SA

LEAF SPLENDOUR

JANICE JENKINS CANADA

SPRING LEADS TO SUMMER

RINA-MARIA SCHEPERS SA

ISLAND DELIGHT

 

COBUS CONRADIE SA

VUVUZELA THUNDER

 

ANNIE NOMAN PAKISTAN

A DRAMATIC FUSION OF MOROCCAN

LEA ROMANOWSKI CANADA

PEACE THROUGH FLOWERS

ANJUM MUDDASSIR PAKISTAN

AN EXOTIC BLEND OF LAVENDER WITH CHUNRI

SHOBHNA KANTORIA KENYA

HARMONY WITH ANKURA

SUNITA KANORIA INDIA

FRAMED IT

PRITESH SHAH KENYA

KANGA AND CALABASH COUTURE

 

BARBARA BEDELL CANADE

MEMORIES OF JAIPUR

ANITA PATEL KENYA

SUNSHINE FLIGHT

FARZANA ANSARI PAKISTAN

SENSUAL

LIL TAGGART CANADA

CONNECTED MEMORY

GEETA SHAH KENYA

MOVIN TO THE GROOVIN

SUE FINGLETON AUSTRALIA

OPTIMAX

 

 

 

 

 

FOR LOVERS OF LINES

CLASS 3  -  CROSSHATCHED

This was the final class in 'For Lovers of Line' and if you chose 'Crosshatched', you had to 'crosshatch for your life!'. A simple grid here and there just 'didn't cut the mustard'. And one type of crosshatching just wasn't enough. And, weaving ain't crosshatching, incase you're wondering!! (So throwing in that woven structure you made 'when pa fell off the bus', didn't impress our some of our judges, I'm afraid.)

Also, if you did the necessary crosshatching, you ended up with an enormous amount of texture in your design which had to be toned down somehow with the introduction of smooth solids or open spaces.

To get a real feel for the power of cross hatching, one has to look at a lot of sketching. The drawings of the old masters are really worth a gander. (The picture below is by Leonaro da Vinci and there are many books of his sketches.) The way crosshatching adds value (darkness and light), depth and vitality to what they put on paper is amazing. And, we can use it just as well in floral art too. (I mean, in the old days, who hasn't covered up oasis with a wisp or two of crosshatched sisal. Ha Ha! We can certainly do a lot better than that now!) Kim Zimmerman

1ST  -  LEA ROMANOWSKI CANADA

The Judges comments : A well-balanced design with good line flow and well positioned Vanda orchids. Evidence of crosshatching and depth has been achieved with the reeds. (New Zealand judges)

A well conceived crosshatched construction with excellent mechanics. Good use of linear plant material of various thickness. Great choice of flowers with crosshatched patterns on them. A design of real distinction. (South African judges)


2ND  -  HENDRA GOUWS NFU SA

The Judges comments : A well-executed, imaginative design of great distinction. The placement of plant material of different colours and thicknesses throughout the design is excellent and adds dynamic inner crossing to depict the class theme. Well done! (South African judges)

Good depth achieved in the circle of crosshatching with a great rhythm of colour throughout - although some of the slimmer black sticks could have been used to better integrate the thick black sticks into the design. The orchids, though beautiful, are not strong in form so don't really give the eye a chance to rest or sufficiently balance out the thicker black stick work. This is a well staged contemporary design. However, the circle could have been placed a little higher for the visual weight of the base. (New Zealand judges)


3RD  -  YVONNE EIJLERS KZNAFA SA

The Judges comments : A strikingly neat, eye catching, dramatic design with distinction and a very high class value. A great example of 'less is more'. The crosshatching, even on the leaves, is very innovative. An exceptional container for this concept. (South African judges)

A sharp design with good textural contrasts. The bunch of berries could be tripled in size and extended down the container. The three beautiful leaves could be placed more horizontally to add depth. The crosshatched form contrasts well with the smooth container. A well- staged design. (New Zealand judges)


VHC  -  MARJOLIJN MALAN WCAFA SA

The Judges comments : A work of art indeed. Pleasing use of colours in a spectrum from light to dark, complementing the frame and background. The crosshatching on the aloe and the stapelia flowers are an added bonus to this pleasing exhibit. Well done. (South African judges)

There is good colour blending and good textural contrast in this design which is enclosed in a frame with crosshatched reeds. Attention does need to be paid to the condition of the frame. Beautiful rhythm has been achieved with the plant material placements. (New Zealand judges)

HC  -  JILL HOSKIN ECFAA SA

The Judges comments : A design of good proportions showing nice depth with the placement of the cyperus stems. The flowers are well positioned but the leaves would be better if they were placed one above the other closer to the lilies (rather than lying one on top of another on top of the curved component).The use of colour in this piece is extremely attractive and the different textures are appealing too. (New Zealand judges)

A successful interpretation which has been beautifully executed. However, the light green crosshatched 'screen' seems to be a second background: plant material is not incorporated into the screen and therefore the design lacks unity. (South African judges)

C  -  DALENE GRUNDLINGH WCAFA SA

The Judges comments :  A good choice of plant material for this class. Lovely crosshatching has been neatly achieved but the design lacks excitement and 'wow' factor. (South African judges)

A smartly staged design. The light reflecting on the bamboo gives it a smooth appearance to balance the rough textures of the twigs and tillandsia. (New Zealand judges)


C - MADHU SHAH AUSTRALIA

The Judges comments : There is no appearance of multiple crossing materials in this design. Good vertical line is achieved with the sticks, but the curved line has detracted from the overall character. Good repetition of plant material is evident and the design has been nicely staged on a Gregor Lersch inspired stand. (New Zealand judges)

An artistic design with good use of line and visible, varied crosshatching. Clever use of mechanics creates an almost soaring effect. Plant material has been placed in an interesting and contemporary way. However, the design lacks 'wow' factor. (South African judges) 


DURBAN FLORAL ART CLUB MEMBER ENTRIES

3RD  -  YVONNE EIJLERS KZNAFA SA

 

OTHER ENTRIES

ALTHEA HIGHAM WCAFA SA

ANN HARBORD CANADA

ANNAMARI CILLIERS SA

CARYS HARRISON UK

ELMIEN RAVENSCROFT SA

FARAH KHURSHEED PAKISTAN

GHEETA SHAH KENYA

HARSHIDA SHAH KENYA

JAYNA SHAH KENYA

MARIE CLAASSEN SA

MARIEKE RIC HANSEN KZNAFA SA

MARIEKE SMIT SA

MEI LENG HARPER CANADA

PAMELA GALLOWAY UK

PRAVINA SHAH KENYA

RAFIT ABID PAKISTAN

SAMEENA AZHAR PAKISTAN

 

 

CLASS 2  -  WHAT CAN FOUR LINES DO?

This class also fell under the category 'For Lovers of Line' so the focus had to be on four distinct lines and the art that could be produced with these.

It is quite a difficult process to find four (the most 'even of even' numbers in my mind and a number that rarely works in floral art) pieces of plant material/s that could be put together to make something that really speaks to viewers. However, I think there are some pretty good attempts in this section.

Just a couple of thoughts:

It really helped the judges if they could distinctly see the four lines in the design. Some competitors joined their lines together so well that they couldn't see where the different lines began and ended. So how did they know that four lines had actually been used?

Also, remember that a line has a distinct beginning and a distinct end. Once they join together, a shape results and the line is gone. Unfortunately, there were at least four brilliant designs that fell into this trap! A circle is not a line. A closed triangle is not a line either. You live and learn!

On each of our creative hands there are four lines which supposedly tell a lot about us (if you believe in that sort of thing!). Interestingly, they are called the head line, the heart line, the life line and the fate line and thinking about it, I do believe that one's head, heart, life and fate all determine the type of art one will create. Kim Zimmerman


1st - Farhana Azim Pakistan

The Judges comments : Wonderful strong plant materials create a striking use of lines, space and movement. The clarity of this design is commendable! Congratulations! (South African judges)

An immaculately balanced piece exhibiting excellent workmanship with the use of interesting plant materials to depict the class title in the most innovative manner. A fascinating display of foliage creating enchanting textured variety with a blend of different hues of green making it an absolute certain prize winner. (Indian judges)


2nd - Paula Monk Kznafa SA

The Judges comments : A remarkable interpretation. Art in plant material. A very clever piece. Congratulations. (South African judges)

An intense depiction of the show title creating a beautiful art piece with the use of interesting dried material. The textured background makes the design a visual treat. However, a little depth in the exhibit would have made it even more effective. (Indian judges)

 

3rd  -  Kath Shaw UK

The Judges comments : An alluringly constructed and staged exhibit accomplishing good use of space making it dramatic and a visual treat for the eye. Repetition of flowers or colour would have added to this well staged exhibit. (Indian judges)

Fascinating eucalyptus bark lines with good use made of space. The four lines are clean and concise. It must have been quite a mechanical challenge to put this together. A slight pity that the table isn't higher (to avoid the green backing) and the design a little further back. Well done! (South African judges)

 

VHC - Tabassam Pizvi Pakistan

The Judges comments : Great clarity of movement and good use of space. A really splendid piece! Had the base had been the same colour of the tablecloth, the design would be even more striking and ingeniously balanced. (South African judges)

This beautiful design giving the feel of a dancing lady depicts the class title, as well as the overall show title, very well. (Indian judges)

 

HC - Lea Romanowski Canada

The Judges comments : Lovely use of the dried streltzia leaves. The four lines (called for in the title) are well-spaced, utilising the stand in good proportion to the complete design. The leaves themselves lack the simple clarity expected. By painting the base the same colour as the table cloth, an exhibit with greater harmony would have resulted. (South African judges)

A very interesting depiction of the class title using only one type of plant material. The swirling leaves create a beautiful rhythm in the exhibit. A very well balanced and harmonious piece. However, adding a variety of texture would have made the design even more impressive. (Indian judges)


C - Annemari Cilliers Ecfaa SA

The Judges comments :Great movement has been achieved with the aspidistra leaves and the colour of the red leaf adds fabulous depth and blends well with the container. Perhaps the simplicity of the lines asked for in the title has been complicated by thicker leaf shapes - but they are lines, nonetheless! (South African judges)

This exhibit shows superb workmanship with the leaves creating a rhythmic and good interpretation of the class title. However, if the design was placed in a taller vase, it would have been even more impactful. (Indian judges)

 

DURBAN FLORAL ART CLUB MEMBER ENTRIES

 

CONGRATULATIONS TO  PAULA MONK KZNAFA SA  -  2ND

KEVIN WEBB KZNAFA SA

 

OTHER ENTRIES

 

DE-MARA BEZUIDENHOUT SA

FAIEZAH SHAHID PAKISTAN

FARAH KHURSHEED PAKISTAN

HELEN CUSACK IRELAND

HENRIETTE LOUW SA

JAN DE BEER SA

KATHLEEN LANG CANADA

 

LYN BAIRD KZNAFA SA

MARY-ANN VERCAMMEN CANADA

NAINA SHAH KENYA

 

NAVEEN SYED PAKISTAN

NUZHAT SAEED PAKISTAN

NAZLI ASIF PAKISTAN

PRATIBHA NEWARY KENYA

PRIYA SHAH KENYA

SALMA AANSARI PAKISTAN

SAMINA HUMAYUN PAKISTAN

SANDY LEE SA

SANDY VENTER SA

SHAKILA KHALIL PAKISTAN

VERENA BHENSON SA

ZEENAT SALIM PAKISTAN

 

 

CLASS 1  -  HORIZONTALLY INCLINED

This show was divided into categories and the first three classes fell under the section 'FOR LOVERS OF LINE'.

One of the ways we create art is by great use of line and when asked to concentrate on line, we have to focus on when a line stops being a line and becomes, instead, a shape or form.

Class One was called 'HORIZONTALLY INCLINED' and the schedule asked competitors to send their pictures in in landscape format. So, guess what? Several competitors didn't read that and found the tallest stand they could and elaborately put as many horizontal lines across it as they could and then took a photograph in portrait format which resulted in a penalty! (So sorry - but these virtual shows have very few rules that can be policed but asking for a landscape photograph is one of them.) We were asking you to keep your horizontal low, or, if you were going to put it on a stand, to keep it of short to moderate height.

The word 'Inclined' was added to the title for a reason and ignoring it entirely was perilous. Some competitors felt it was enough to just present a horizontal line but that extra word allowed you to play with the angle of your line a little. But, you didn't want to end up going diagonal because then you're just weren't really horizontal anymore!

Some competitors presented quite curvaceous lines and I'm on the fence as to what I feel about this. Is a 'lazy crescent' or slightly 'inverted crescent' still a horizontal? Hmmmm?

Can you believe that the lines below are all straight horizontals? They are! Optical illusions are pure craziness! Kim Zimmerman


1ST - VIBHA DODHIA  KENYA

The Judges comments : An excellent 'Horizontally Inclined' piece. The structure made of rolled and tatami-ed corrugated cardboard is inspired. The eye is ably to flow through this design with beautiful rhythm encountering areas of interest along the way. Very well done! (Kenyan judges)

An immaculately thought out design using minimalistic well chosen plant materials on a low unobtrusive stand. There are beautiful inclines to the front and back of the horizontal line. The design is superbly balanced. A stronger solid curving line, like a yellow-green flax, could add variety to the design. This is an example of an excellent landscape photograph. (South African judges.)


2ND  -  JACKIE THERON WCAFA SA

The Judges comments : Well done! A perfectly balanced 'Horizontally Inclined' design. Placing a bud of the strelitzia in between the flax at the front edge would have created continuity of line and colour. (Kenyan judges)

A different take on 'Horizontally Inclined'. A beautifully placed natural design. The container could have been lower, but then the success of the design wouldn’t be so apparent. (South African judges)

 

 

                   3RD MARELIE VAN SCHALKWYK GFU SA

The Judges comments Well done! This is a very cleverly presented design of neutral colours. The plant material is gorgeous. The title is well interpreted by the angle of the design. (Kenyan judges)

A stunning monochromatic design of broken and direct line. The photograph is taken at an interesting angle. However, the design is a straight horizontal and relies on the photograph to portray the 'Inclined' required by the title. (South African judges)

 

VERY HIGHLY COMMENDED - KATH SHAW UK

The Judges comments : A very well balanced horizontally inclined design. The cane creates excellent rhythm and creates good spatial areas within this piece. (Kenyan judges)

A lovely, peaceful, horizontally inclined design. The carton base with slight inclination is clever and incorporating dry material is very trendy right now. The lines connecting at one focal area hampers line direction a little. A placement of a longer single line ending in an upward motion would have created more excitement. (South African judges)


HIGHLY COMMENDED - MADHU SHAH AUSTRALIA

The Judges comments : What an exciting and interesting design with lots of horizontal line. Perhaps a stronger direct line like variegated flax would have made it even more beautiful. The inclusion of the decorative balls and small leafed foliage juxtaposed with the wonderful green anthuriums work well. The cane lines introduce the idea of 'Inclined'. (South African judges)

A good contemporary horizontal design. Unfortunately, it does not interpret the word 'Inclined'. (Kenyan judges)

 

COMMENDED - JEANETTE HABLUTZEL WCAFA SA

The Judges comments : A whimsical, magical natural design. A wonderful selection of moss branches and touches of wool add a softness of line to this design. A lower stand painted in the same background colour, placed at a flatter angle would have benefited this design. Stronger line plant material is needed for contrast. (South African judges)

A very interesting selection of plant material used to achieve this very flowing 'Horizontally Inclined' design. Unfortunately, the stand seems dominating. (Kenyan judges)


COMMENDED - KAREN O'FARRELL IRELAND

The Judges comments : A super exciting piece of art. The mass of crosshatched line gives a horizontally inclined shape but, unfortunately, the stand is dominant and makes the design static. Stronger linear material placed in a horizontal manner would have created more movement and line direction in this design. Very creative use of colour and objects is displayed in this design. (South African judges.)

This contemporary design is well 'inclined' in the open sided rectangular stand. Colour is used beautifully to create impact. Unfortunately, the stand looks dominating and makes the design static. (Kenyan judges)

 

DURBAN FLORAL ART CLUB MEMBER ENTRIES

KEVIN WEBB  SOUTH AFRICA

 

OTHER ENTRIES

Anila Hindocha
KENYA

 

 Barbara Smith   CANADA

 Fred du Preez  SOUTH AFRICA

Althea Higham  SOUTH AFRICA.

Dipty Somaia. KENYA.

 Dewald Vermaak. SOUTH AFRICA.

Judy Gray  SOUTH AFRICA

Annie Noman   PAKISTAN.

Jean Hancox   SOUTH AFRICA.

Jean Plaskett   UNITED KINGDOM.

Kathleen Lang   CANADA.

Sandra Williamson CANADA.

Anjum Muddassir   PAKISTAN

Lanny Pramana.  AUSTRALIA.

Liza Tustin.  SOUTH AFRICA.

Lea Romanowski.  CANADA.

Farah Khursheed.  PAKISTAN.

Sue Fingleton. AUSTRALIA.

Sameena Ahmed.  PAKISTAN.

Jayshree Agarwal   INDIA.

Malgosia Zapala. CANADA.

Michael Cordeiro.
AUSTRALIA

 

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