Meet Sandra Marker: Sydney Sogetsu Riji Ikebana Teacher

I first connected with Sandra Marker (@sandra.marker) when one day back in 2014 I searched "Ikebana Sydney", found the Australian Sogetsu Teachers Association and got in touch with Sandy to join her Ikebana class. After the first class, I became completely hooked on Ikebana, studied my textbooks, went to Japan with her on an Ikebana tour, and started this Flower Club, all thanks to her. So needless to say, I was delighted to interview Sandy about her Ikebana Journey. 

Sandy is multi-talented and artistic on many levels with a love for silversmithing, watercolour painting, and ceramics, but her one true love is Ikebana. Sandy holds the highest level of Sogetsu Ikebana teacher, Riji, and is one of only a few in New South Wales to hold this title. Over the years, Sandy has been documenting her students work through her flickr account, where there are now more than 7250 arrangements that her students have made over her years as a teacher (growing every week). I encourage you to view and read Sandy's commentary on each image, you can see the care taken in each students journey. 

How did your journey with flowers begin, and what projects are you currently working on?

My ikebana journey began in Hong Kong in the year 2000, under the guidance of Mrs. Betty Cheung, who taught in Tai Hang Road, Wan Chai. Her mentorship laid the foundation for my deep appreciation and continued exploration of this art form.

Currently, I am engaged in several projects: I teach regularly in my studio, conduct online lessons via Zoom, and am actively researching venues for a future exhibition.

What first drew you to study ikebana?

It wasn’t just ikebana that captivated me, but the entire spectrum of Japanese aesthetics: art, architecture, gardens, food, and design. This fascination opened a new path of creative exploration. Alongside ikebana, I also studied silversmithing and returned to watercolour painting, enriching my understanding of form, space, and beauty.

Today, I continue to deepen my practice through regular teaching in my studio, offering Zoom classes online, and preparing for a future exhibition as I explore potential venues.

What benefits have you found from studying ikebana so far?

Studying ikebana has brought me a deep sense of calm and reflection. It’s a meditative practice that invites stillness and presence - a moment to slow down and truly observe.

Through ikebana, I’ve developed a heightened appreciation for nature: the curve of a branch, the subtle texture of a leaf, the space between elements. It teaches you to see beauty in imperfection and transience - ideas rooted in the Japanese aesthetic principles of wabi-sabi and ma.

The discipline of ikebana has also enriched other aspects of my creative life. It’s sharpened my eye for composition, balance, and negative space - insights that have carried into my work with watercolours and silversmithing.

Perhaps most importantly, it’s a lifelong journey - one that continues to evolve and inspire me, both as a student and a teacher.

What do you love most about working with flowers?

What I love most is the sense of discovery. Each stem, branch, or bloom brings its own energy, and I’m continually inspired by how I can play and experiment with the material to express an idea or explore a form.

There’s a quiet collaboration between myself and the plant material - a process that often requires me to step back and become almost self-effacing, allowing the natural character of the materials to take the lead. I find that both humbling and creatively stimulating.

Much of my broader art practice - from silversmithing to watercolour painting - overlaps with ikebana. They all share a sensitivity to space, balance, texture, and composition. Whether working with metal, pigment, or flowers, I’m always drawn to the beauty of simplicity and the power of subtle expression.

How would you describe your style of floral art?

My style tends to be strong, bold, and more architectural in character. I’m not particularly drawn to ‘pretty’ or overly decorative arrangements - I prefer clarity, structure, and a sense of quiet power in the work.

I believe one’s style begins to form under the influence of their first sensei, and in my case, that influence was significant. I studied under Mrs. Betty Cheung, who was herself a student of Mr. Tetsunori Kawana - a master known for his dynamic and contemporary approach. That lineage has shaped my aesthetic - not just in form, but in philosophy.

Over time, my own voice has evolved, but the foundations remain: a respect for natural materials, a sensitivity to space, and a desire to create work that feels both grounded and expressive.

Do you have a favourite material or season to work with?

I’m especially drawn to autumn moving into winter. During this time, the changing colors, textures, and shapes of plant materials captivate me. There’s a beautiful fragility in the materials that speaks to the transient nature of life and evokes a quiet, reflective mood.

Working with these seasonal elements allows me to explore contrasts - between strength and delicacy, permanence and impermanence - which I find deeply inspiring.

Where do you usually source your flowers, vases, and tools?

Many of the materials I use come from my own garden or from unique places like a friend’s farm. I also occasionally visit flower markets to find special blooms and branches.

For containers, I often choose pieces collected during trips to Japan, where I find inspiration in the ceramics and pottery culture. In fact, I took up ceramics myself in an effort to create my own designs - though my creations tend to be more rustic and misshapen than refined!

As for tools, I always purchase them in Japan, valuing the quality and tradition embedded in their craftsmanship.

What’s your favourite tree & why? 

Can not decide between Nyssa, Maple or Spruce trees. Each has special attributes - colour texture shape  all offering something special for ikebana. 

Which floral or ikebana artists inspire you most?

Mr Tetsunori Kawana - especially his early style.  Mr. Kawana studied under the guidance of Hiroshi Teshigahara 

What’s the best advice you’ve received on your flower journey?

The best advice I’ve received is to embrace the freedom to explore and discover the world of nature, and then express that discovery through your own unique style.

Ikebana is not about rigid rules, but about finding your personal voice within the natural materials - allowing creativity and intuition to guide your work.

What advice would you give to someone starting ikebana or floral design?

Don’t be afraid to begin - everyone has a natural talent waiting to be discovered. The key is to tap into that potential with an open heart and mind.

Learn to truly see what’s in front of you, rather than what you expect or think you should see. A flower is much more than just a “pretty flower.” Take time to explore its color, shape, size, texture, and scent.

Ikebana is not just about arranging plant material; it’s a journey of discovery - of the natural world and, importantly, of yourself.

Any favourite tips or techniques you'd share with beginners?

Work from your heart and hands - allow your creativity to lead, and trust the intuitive, right side of your brain.

Pay close attention to the foundational techniques and tips shared in class; they’re essential for building a strong base. Once you understand the principles, you’ll have the freedom to develop your own style with confidence.

Remember, ikebana is an art form - and in art, there’s no such thing as being “wrong.” Once the foundations are in place, expression becomes limitless.

What are your biggest achievements in your career so far?

I’ve been fortunate to have a number of meaningful experiences throughout my ikebana journey. Exhibiting three times at the Sogetsu exhibitions in Japan was a personal highlight, offering a chance to engage with the art form at its source.

Some of my work has also been included in Stichting Kunstboek publications, which was an unexpected but appreciated recognition.

Over the years, I’ve contributed to the Sogetsu community in various ways — including serving as Director of the NSW Branch and managing the branch website for over 14 years.

I’ve also enjoyed sharing my practice through workshops across Sydney and its surrounds, as well as in Brisbane, Melbourne, and New Zealand. These opportunities to connect with others and explore ikebana together have been especially rewarding.

What’s the biggest difference between Western and Japanese floral design?

‘Less is more’ highlighting the beauty of the material by incorporating Ma and Wa into the arrangement. 

What challenges do you face working with flowers professionally?

One ongoing challenge is helping to shift public perception around what a floral arrangement should be. Many people have been conditioned to believe that “more is better” - that a good arrangement must be full, abundant, and overflowing with flowers.

In contrast, ikebana values restraint, elegance, and the expressive power of negative space. It's about quality over quantity, and allowing each element - even a single stem - to speak with intention and presence.

Educating others to appreciate this quieter, more refined aesthetic can take time, but it’s also a rewarding part of the journey.

Where should flower lovers go in your city for a 24-hour visit?

Unfortunately the Botanic gardens are closed after sunset.  Walk your neighbourhood, local bush reserves. 

What’s next for you in your flower journey?

I hope to continue sharing my knowledge and love for ikebana - both through teaching and through new experiences that deepen the connection between nature, art, and culture.

One exciting direction is organising small, curated tours to Japan that explore the many art forms intertwined with ikebana - such as ceramics, sumi-e (ink painting), tea ceremony, cooking, and architecture. These experiences offer a richer understanding of the aesthetic sensibilities that shape ikebana and, in many ways, are shaped by it.

Above all, I feel incredibly privileged to be able to pursue this path and to share it with others - as a teacher, a student, and a lifelong admirer of beauty in all its quiet forms.

Any other information you'd like to share? 

Ikebana is a lifelong journey - one of discovery, enjoyment, and meaningful connection. It offers not only the opportunity to explore creativity, but also the gift of friendship and community.

In many ways, it allows you to ‘stop the world and get off’ - to pause, reflect, and immerse yourself in the quiet freedom of artistic expression. Whether arranging a single stem or creating a larger composition, ikebana invites you to slow down, observe deeply, and find beauty in simplicity.

Thank you, Sandy, for all you have done for continuing the Ikebana tradition in Australia, and around the world with your online classes! We appreciate everything you do.

Explore more of Sandra’s work on her website, Instagram, or on Flickr.