Dewdrops on a Lotus Leaf.

When the DAM invited me to create a large-scale collaborative modular sculpture inspired by the techniques showcased in Biophilia: Nature Reimagined, it felt like a fitting alignment of artistic vision. The incorporation of repetition of form and shape, drawing inspiration from nature, seamlessly blended with my existing creative process. 

My recent visit to the Italian artist and architect Carlo Scarpa’s Brion Cemetery & Sanctuary near Treviso, Italy, sparked the idea for my reimagined pond, a mixture of traditional and contemporary Japanese aesthetics. I was moved by Scarpa’s ability to grasp the essence of Zen with all the symbolism enclosed in a limited space. While in this garden, Ryokan’s haiku imagery from “Dewdrops on a Lotus Leaf” materialized in front of my eyes. I wanted to evoke the elements of a Zen garden through geometrical shapes and watercolors. 

Here in the Studio, I was drawn to the building’s architect Daniel Libeskind’s large luminous window as the stage for my floating pond installation. Variations of the light filtering through the window mixed with the room’s artificial lighting choreograph a dynamic display, transitioning between a daytime and nocturnal version of the koi fish.  Designed with a vertical view, the installation offers observers standing outside the museum with a simulated underwater perspective. 

The sculpture comprises lily pads, koi fish, and lotus flowers. The delicate sway of bamboo and washi circle lily pads stirred by the subtle flow of air echoes the movement of water. Koi is a homophone for another Japanese word that means love or affection, making the koi a symbol of love and friendship. It represents determination, ambition, perseverance, and the journey of advancement in life. The lotus, a symbol of beauty and purity, blooms in muddy waters, transcending its surroundings to showcase unblemished beauty.  

Complementing the main installation, a smaller piece near the Studio’s entrance incorporates Oracle-bone script characters (ancient Hanzi/Kanji characters). These depict synthesized fish and frog shapes with a variation of the circles’ material to accommodate black origami lotuses. 

The “mega-origami” lotus flower on the pedestal to the right is an example of how twelve pieces of paper can transform. It is also my invitation to visitors to fold their own origami and collaborate with me to incorporate their frog/koi/lotus to this evolving artwork. 

The sculpture becomes a living testament to shared creativity, a harmonious blend of individual contributions woven together into a visual symphony.