Erika Ellsworth: A Floral Journey Shaped by Curiosity, Clay, and Quiet Certainty
We first met Erika Ellsworth (@eriells) at a workshop we hosted in Byron Bay with Braer Studio (@b.r.a.e.r), where her curiosity and love for flowers quickly made an impression. Based in Byron Bay, Australia, Erika is a floral designer, ceramicist, and artist whose practice weaves together ikebana, sculpture, and story. Her journey with flowers began not with a grand plan, but with a feeling—an instinctive pull toward beauty and calm that followed her from a bookshop in Athens to a flower farm in Byron Bay. Along the way, she has learned from mentors across Mexico and Australia, has begun studying the Sogetsu Ikebana Textbook curriculum through our Academy program, and also started building a collection of hand-built vessels.
In this interview, Erika shares how flowers helped her embrace imperfection, why ikebana feels like a breath of fresh air, and the joy of discovering new Australian materials during her ikebana and flower arrangement journey.
How did your journey with flowers begin, and what projects are you currently working on with flowers?
I suppose it began in childhood, finding rare lady’s slippers in the woods of Atlantic Canada and believing they were magical. But my floral journey didn’t start with a plan—just a simple need to feel good amid the chaos of life.
While working at a bookshop and navigating a hectic life in Athens, Greece, I found myself deeply drawn to my neighbourhood plant and garden shop, Kopria. Every time I walked by, I felt a strong sense of awe and well-being. I longed to be part of that world, but it felt out of reach—so I made art about it instead, because that was all I really knew how to do. That art eventually took me to Oaxaca City, Mexico, where I met florist Alejandra from Elpída. One day, while getting a coffee at Kiyo Café, I noticed her arranging flowers, and that same deep calming feeling returned amidst the noise of my life. She was so kind and generous, and gave me my first floral lesson on the spot. It sparked something—a quiet certainty—and I told myself I’d go to Australia and work with flowers. I didn’t know how or when, only that it felt like my mission.
I’ve been in Australia for 18 months now, and after a year of focusing on floral design, I’m only just beginning to uncover where this path might lead. I’m currently studying Book 1 of Sogetsu Ikebana through Flower Club International and slowly building a body of ceramic vessels and sculptural floral pieces—letting each part of the practice inform the next.
What first drew you to study ikebana?
After settling in Byron Bay, I saw that the local floral studio Braer was offering a workshop called The Flowers and the Vessel That Holds Them. I didn’t really know what to expect—I just saw clay and flowers and thought it would be a lovely way to spend an afternoon. When I arrived, Azzmin, the owner, gave the most beautiful ikebana demonstration, and the studio was filled with ikebana books. I was completely mesmerised.
What benefits have you found from studying ikebana so far?
Studying ikebana has helped me release perfectionism and embrace impermanence—lessons that have quietly deepened both my art and my outlook on life.
What do you love most about working with flowers?
I love how flowers are beautiful exactly as they are—and how working with them actually energizes me, unlike many other things that tend to leave me feeling drained.
How would you describe your style of floral art?
Explorative and evolving—shaped by curiosity and a sense of tastefulness.
Do you have a favourite material or season to work with?
Wild roses hold a soft spot in my heart—they remind me of my grandmother, but I’m also drawn to their poetic complexity and subtle hint of danger. What excites me most, though, is the changing of the seasons and the opportunity to explore unfamiliar materials. Australia is full of unique plants I’d never seen before. I recently discovered that camellia branches work beautifully for building cross-bar and vertical fixtures in nageire arrangements. They last a long time and often surprise you with tiny blooms weeks later.
Where do you usually source your flowers, vases, and tools?
I was fortunate to learn from and then assist Jess Connor at Poppy & Fern—a sustainable flower farm, school, and shop at The Farm here in Byron Bay. It’s a wonderful place, and for a long time, almost everything I used came from there. Lately, I’ve been sourcing materials by simply walking around the neighbourhood and seeing what I can find. For vessels, I’ve started making my own—handbuilt ceramics made for ikebana. I’m really keen to start using them in my designs.
Which floral or ikebana artists inspire you most?
I’m always amazed by how timeless historical archives of ikebana art are—the true OGs. I also love logging into Zoom each week to see what my classmates Beverly and Linda have created from across the globe; it’s fun to see how differently we each approach the same themes. Georgia O’Keeffe, however, has probably been my longest guiding influence. Her devotion to art and nature, and the way her minimalistic style reveals the sublime, deeply resonates with me. I admire how she translated her sensitivity toward flowers and personal pain into forms that are soft and simple, yet striking. Though quite different from ikebana, I find Kim Young Shin’s massive spiral bouquets worth mentioning—her dramatic sense of proportion verges on the absurd, but the results are so joyful and elegant.
What’s the best advice you’ve received on your flower journey?
Talk to the flowers :)
What advice would you give to someone starting ikebana or floral design?
Your early arrangements won’t be perfect—and they’re not supposed to be. Keep practicing and you will improve.
Any favourite tips or techniques you'd share with beginners?
Take your time to condition and connect with the materials before arranging—notice their form, movement, colour, texture, scent, and natural curves, and let them guide you.
What’s the biggest difference between Western and Japanese floral design?
As my wise ikebana teacher Sandra Marker says, Western floral design often looks like it’s suffocating the flowers. For me, ikebana feels like a dynamic breath of fresh air.
What challenges do you face working with flowers professionally?
The biggest challenge for me, fresh out of flower school, is finding work with someone whose approach I admire and can learn from. I’m eager to assist with weddings and events, gain retail floristry experience, and collaborate on creative projects. All I need now is that first opportunity to contribute and grow.
Where should flower lovers go in your city for a 24-hour visit?
The large bats living in the trees outside the Byron Bay library are one of my favourite sights—it’s pretty amazing to see them take flight at twilight. But you really can’t skip a walk from The Pass to Wategos and up to the Lighthouse, especially at sunset. Poppy & Fern is always worth a visit to see what’s in bloom and to crack open a few macadamia nuts. A tea ceremony at Cloud Hidden offers a beautiful, grounding experience, and depending on the season, hop on the solar train to North Beach to check out the waterlilies near Zephyr Horses and Belongil Beach.
What’s next for you in your flower journey?
I would really love to travel the globe doing floral work, learning from different people, cultures, and landscapes along the way. For now, I’m focused on deepening my ikebana and ceramics practice, developing botanical sculptures and floral styling projects, and seeking opportunities here in the area. I’m especially excited for Estonian rapper Helina The Artist to return from her motherland so we can collaborate on a flowery music video together.
Huge thanks to Erika for sharing her story with our Flower Club community. Her reflections on creativity, imperfection, and the quiet magic of ikebana will resonate with anyone finding their way through flowers.
You can follow her work on Instagram at @eriells, where she shares snippets of floristry, ceramics, and botanical sculpture. Currently based in Byron Bay, Erika is available for projects in the Northern Rivers and beyond—including freelance floristry, ikebana commissions, creative collaborations, floral styling, installation support, and ceramic vessels for sale, hire, or commission.