Auralynn Nguyễn: the Art of Teaching Ikebana

We first connected with Auralynn Nguyễn (@auralynnnguyen) through the Sogetsu community, where her elegant sense of line, thoughtful teaching, and deep respect for Sogetsu immediately stood out. Auralynn is a Sogetsu practitioner and educator whose path began in a library discovery of ikebana and now spans Vietnam, the United States, Europe, and Japan.

In this interview, Auralynn reflects on teaching across cultures, why practicing without a kenzan sharpens technique and perception, and how humble materials can lead to powerful work. 

How did you first discover Ikebana, and what drew you to it? 

After being exposed to academic courses on art history, I noticed that a large portion of the curriculum had a general focus on the arts and cultures of Europe, North America, and the Middle East. While in pursuit for more information on East Asian art at a library, I came across an older book on ikebana. I understood that most Asian arts are a path, and by serendipity I found the Sogetsu School. This way of ikebana does not only have a contemporary approach to art with flowers, but a revered history during the mid-20th century fused with the spirit of Japan's traditions. With Sogetsu, the possibilities are endless.

 What inspired you to begin teaching, and what do you enjoy most about guiding students?

I relocated back to Saigon (Ho Chi Minh City) around 2015 for personal reasons, and felt that teaching may be a viable role in the arts. Compared to North America, Europe, Australia, and Japan (all places where ikebana is prominent), the overall population in Vietnam is very young, and hungry for finding ways to be creative. It was a pleasure but also difficult to discuss ikebana in a way that is not so literal, but artistic and philosophical. Every country has their own interpretation.

You have taught in many countries. Can you share a little about your path as an international teacher?

I have (only) taught as an assistant to my instructor, Makiko Morange. She and I have known each other for over a decade, as we follow the line of Reiko Takenaka. It was Morange-sensei's open-minded approach to life to come to Vietnam twice in 2024 to present different events in both Hanoi and Saigon. Due to my connections to Vietnam, naturally I was the organiser and assistant. Thankfully, we had many great friends that helped us.

Which artists, teachers, or creative influences have shaped your work the most?

The ikebana creations by the following people established the "line" I am in: Hiroshi Teshigahara, Reiko Takenaka, and her two students, Oizumi Reito and Makiko Morange. Ceramic works from around the world inspire me, my favourites including pre-historic pottery from Mexico and Peru to more contemporary work by the Sodeisha group in Kyoto. Naturally, a flower and vase go together, so if you become enveloped in ikebana, over time with technique and exposure you'll find new ways of approaching vases, whether ceramic, glass, metal..

What is your best piece of advice for someone completely new to Ikebana?

Expensive, overly beautiful, or unique flowers are not necessary.

Do you have a favourite "trick" or arranging tip that you love to share with students?

There are no tricks, but techniques. In this case, it is very important to create ikebana works without a kenzan from time to time. This will be a test as to not only your skill set, but creative perceptions on what is possible with plants. Many people forget that most leaves don't need water.

Do you have a favourite flower, plant material, or season to work with, and why?

My favourite plant material to use are various leaves, such as iris leaves, ti leaves, and hosta. They are very flexible in creating a new expression. There are not many plants that will change colour when submerged underwater; hosta is one of them. It becomes a shimmering silver.

You split your time between the US, Vietnam, Europe, and Japan. What are some "must-visit" spots for Ikebana lovers in these places?

My exposure to the United States is limited, but my favourite region and culture is the Southwest. The Petrified Forest and Painted Desert feature glowing colours that cannot be recreated. In Paris, Parc des Buttes Chaumont is a special space for solace or picnicking. If anyone is visiting Tokyo to make a pilgrimage to Sogetsu Kaikan, they ought to visit the kare-sansui of the Canadian Embassy next door. Due to its elevation, it is hidden from pedestrians yet in the centre of the city.

Where do you like to source your flowers, vases, and tools?

Most of my green plant materials for my personal works and classes come from my family's garden. However, flowers are usually sourced at the wholesale flower market in Los Angeles or from small local growers that advertise on social media. I prefer to work with whatever plants are not only closest to me in physical proximity, but native to the region. For ceramics, I am open to using anything if it resonates with me. I have antique and vintage pottery, but also contemporary pieces from flower markets.

What is one of the biggest challenges of working with flowers professionally?

The perceived idea of creating a work and the end result is very different in Japan compared to the rest of the world. In Japan, once we finish creating an ikebana work, we disassemble the arrangement to leave class. In other countries, everyone has the idea of "taking ikebana home" which in many cases isn't physically possible. This is a cultural difference that may seem insignificant, but it displays a philosophical contrast.

What is the best advice you have ever received about Ikebana or creative work?

If you have a vision for your work, don't overthink it, and follow your intuition.

What is next for you in your floral journey?

Hopefully, I will be able to give a workshop or two in Saigon this November. I return to Vietnam twice a year, and I would like to continue to share my interest in ikebana as an art form each time I visit, even if it's brief.

Many thanks to Auralynn for sharing her insight and experience with our Flower Club community. Her perspective on lineage, place, and practice offers a generous guide for students and teachers alike, reminding us that technique, philosophy, and intuition grow together.

Follow her work on Instagram at @auralynnnguyen and explore upcoming offerings at www.kadensho-la.com. Auralynn divides her time between the United States, Vietnam, Europe, and Japan, and hopes to host workshops in Saigon this November.