Azuma Makato on the Emotional State of Flower Expression
Words by Karen Leong / Photography by Shunsuke Shiinoki 
Azuma Makoto, somewhat of a renegade in floral sculptures, operates from his high-end Tokyo floral shop, JARDINS des FLEURS. Known for crafting ab- stract and grandiose floral structures, his work has captivated luxury brands and connoisseurs from across the globe. Since launching his flower business in 2002, Azuma has also founded the Azuma Makoto Botanical Research Institute (AMKK), a hub for exploring groundbreaking floral and plant repre- sentations. Driven by a desire for a space conducive to his experimental ap- proaches, Azuma opened gallery AMPG in 2007. This endeavor, aimed at creating one unique piece monthly over two years, proved to be a pivotal moment in his artistic journey.
A-M Journal delves into how Azuma continues to revolutionize and reinterpret floral art, showcasing his unique perspective and innovative methodologies.
Karen Leong: Can you tell us about your journey as an artist and what initially inspired you to pursue a career in the world of art and flowers?
The direct catalyst for my encounter with flowers was starting a part-time job at a flower shop while pursuing my music (band) activities. It was there that I first encountered the beauty of flowers, but at the same time, I also realized the similarities between music and flowers.
Both are fleeting and there is no identical one in this world. Just as there are as many expressions of a “red rose” as there are flowers, each sound is also unique, influenced by the emotional state and the environment in which it is created.
And both music and flower art bring together these expressions. This reali- zation became one of the factors that drew me deeper into this world. After- wards, while running a flower shop, I began exploring ways to express myself directly through flowers, separate from serving customers or clients.
I started my journey as a flower artist, not because I wanted to build a career, but because I wanted to discover the potential of flower expression. My goal is to make more people feel something they have never experienced before - the beauty, strength, fragility, and mystique of flowers as a living entity. I want to enhance the value of flowers and have others appreciate them in a new light.
KL: Your “Exobotanica” project, which involved sending plants into space, garnered international attention. What was the concept behind this project, and what did you hope to convey through it?
“Exobiotanica” is the first installment of the “In Bloom” project, in which flowers are arranged in places where they wouldn’t normally exist, such as outer space, salt lakes, underwater, and polar regions. This ambitious project aims to document the interaction between space and flowers, as well as the phenomena and beauty that arise from it. The project has been expanded to include various natural phenomena such as the stratosphere, deep sea, snowfields, and salt lakes.
I always strive to bring out the new forms and unique allure of plants and flowers, and to enhance their value. I believe that the contrast between the beauty of flowers and the rarely seen natural phenomena captures people’s hearts.
KL: Your work often blurs the lines between art, science, and nature. How do you balance these different elements in your creations, and what challenges do you face in doing so?
I believe there are no boundaries between art, science, and nature. For me, both nature and science are forms of art, and by delving deeper into each, I find that they encompass elements that cross different fields. While I approach it from the perspective of floral art, I have been exploring new methods of representing contemporary versions of plant specimens and anatomical charts with the help of academic scholars and researchers in the field of botany.
By demonstrating that subjects like science and nature can be transformed into the realm of art depending on the approach, I have come to realize that we can expand new possibilities together. The field of research often struggles to gain attention unless it directly leads to practical benefits, creating a barrier that keeps it inaccessible to the public. However, when the work catches the eye of many people, it can open up new possibilities. I hope to convert such future-oriented research into new value through my own expression, and spread it to a wider audience, ultimately increasing interest and curiosity to- wards flowers.
KL: The idea of “flower time” is central to your work. Can you elaborate on what this concept means to you and how it influences your artistry?
As a florist, I live every day alongside the life and beauty of flowers. Yesterday, a bud that was tightly closed suddenly bloomed in the blink of an eye, while a fragile-looking flower managed to stay beautiful for days. Being short-lived, flowers go through rapid and constant changes.
Most of them eventually wither away, but capturing those fleeting moments in photographs and recording them as videos is a way of preserving their eter- nal beauty by connecting those moments together. From the sprouting and blooming to the eventual decay, I always feel that the process is beautiful, filled with wonder, and precious no matter where you look.
It is not just the fully bloomed moments that are captivating, but every single moment has its own charm. The film “Drop time” expresses the idea that flow- ers are truly the “art of time.”
It aims to make viewers realize that withering and death are not inherently ugly, but rather a testament to life and the presence of existence. I hope to have people witness the changing forms of life in the flowing and evolving nature of time.
KL: Your “Story of Flowers” animation explores the life cycle of flowers. What prompted you to explore this theme, and what do you hope viewers take away from it?
This animation was created as a work to convey the life of flowers to chil- dren. On this Earth, various flowers and plants inhabit, they are pollinated by birds and wind, they endure strongly even in rain and storms, and every plant sprouts and eventually decomposes, becoming nourishment for new life. The life cycle of these organisms is beautifully illustrated by Katie Scott, brought to life through animation.
In addition, starting with this first installment, the second installment delves into the theme of “flowers and people,” exploring how flowers accompany and interact with human lives. The currently in-production third installment will focus on the theme of “flowers and history,” tracing various historical events related to flowers. This series is planned to conclude with the fourth install- ment, and it is created with the hope of conveying the world of flowers more widely and deeply to people through animation.
KL: Sustainability and the environment are increasingly important topics in the art world. How does your work address these issues, and what role do you see artists playing in raising awareness about environmental concerns?
As someone who deals with plants and flowers that inhabit the Earth, I am constantly aware of environmental issues. Even in my home base of Tokyo, the environment is rapidly changing, and I believe it will continue to do so in the future. However, I have always felt that it is not my role to create works of art to spread messages about this issue. Instead, I believe that by creating works that allow people to truly appreciate the beauty and value of flowers and nature, it can naturally raise awareness and redirect people’s attention to environmental problems.
Moving forward, I want to engage in activities that awaken people’s con- sciousness through various approaches, whether it be through creating art or engaging in social initiatives.I also run a flower shop where I follow a made- to-order style. I only purchase the necessary amount of flowers and deliver artistically arranged bouquets to those who need them. This sustainable ap- proach has been ongoing for over 20 years, ensuring no wastage of flowers and being friendly to both the environment and the flowers themselves.
As someone who receives the blessings of nature through flowers and plants for my expressive activities, I hold a strong respect for nature. With this belief, I trust that my flowers can speak for themselves without needing words, and I hope that more people develop the sensitivity to perceive and appreciate such expressions
KL: Collaboration is a recurring theme in your work, including partnerships with scientists, photographers, and fashion designers. How do these collabora- tions enhance your artistic practice, and what have been some memorable experiences working with others?
I make a decision whether to collaborate with brands, photographers, de- signers, etc., regardless of past interactions, based on how deeply I can res- onate with and respect the values, expressions, and spirituality they possess. Through various collaborations, I sometimes try experimental expressions, and other times I develop new expressions by evolving past techniques.
I have been able to gain a multi-faceted approach that I couldn’t see in my own artwork, and I believe that these experiences have undoubtedly expanded the breadth of my expressions.
At the same time, I can’t help but feel that my flowers can collaborate in such diverse fields because they possess a universal beauty that can seamlessly merge in any field. Throughout history, flowers have been an eternal motif in art, fashion, and decorative arts, among other cultural expressions.
They are a source of beauty, transience, and strength that continues to inspire us in every era.
In a constantly evolving cultural landscape, the flower motif remains unchanged, reflecting the times while providing us with the energy to live. It signifies that flowers are one of the few universally beautiful and instinctively captivating elements that transcend time, nationality, language, and religion. Through various collaborations, I am once again reminded that our attraction to flowers is a shared instinct of humanity.
KL: Looking to the future, what exciting projects or ideas are you currently exploring or planning to pursue in your artistic career?
I always want to bring out the new forms and unseen beauty of plants and flowers, and enhance their value. I want to see and touch the various plants and flowers that exist all over the world with my own eyes. From there, I want to create expressions that bring new value from a different perspective than their natural state, inspired by what I have seen and touched.
In recent years, I have been challenged in visualizing the internal structure of flowers using X-rays, and as mentioned earlier, researchers have been collaborating to explore new forms of expression from academic fields such as agriculture and anatomy. At the same time, there are plans to create “living sculptures” that are more public and long-lasting. From a micro to macro perspective, I hope to shape as many possibilities as possible, where flowers and plants meet people and expand infinitely, with my own hands.