Art in Bloom 2022 and 100th anniversary of the Friends of the Institute at Minneapolis Institute of Art.

Pedestal Floral Artists Share Their Inspiration

Each of our Art in Bloom Pedestal Floral Artists has been assigned to interpret one specific piece of art from Mia’s permanent collection. These artworks are on display throughout the museum and can be viewed in Mia galleries. Meet these dedicated floral artists, see their artwork, and read in their own words how it inspired their floral design.

Pedestal Floral Artists by Last Name


Thea Adams

Interpreting: Front Room (Gallery 374)

Years of participation: 19

Ikebana International: Sogetsu School

Spikes of lavender liatris represent Asme’s powerless rage. Blue delphiniums plea for calm. Towering fantail willow branches and leucodendron insist calm. Yellow spider mums denote the carefree, oblivious woman in the background.

Paula A. Allan

Interpreting: With a Bird (Gallery 226)

Years of participation: 15

Co-artist: Abbi A Allan (5)

We wanted to show the progression of how colors of the woodcut are created through flowers. We are 3rd generation floral industry participants.

Tatiana (Borg) Allen

Interpreting: Rice Farming in the Four Seasons (Gallery 221)

Years of participation: 2

Iris Society of Minnesota

Although only four of 16 screens are currently on display (Spring), I was inspired by reading about the four seasons represented in the entire piece.

In homage to my grandmother, Virginia Borg, I wanted to illustrate the four seasons in Ikebana, which was her life’s passion. She visited Japan many times in her lifetime, studying under masters and also teaching the art to others.

I can still remember the mysterious, earthy way her house smelled, always a slightly different potpourri of dried flowers, leaves, pine cones, bark. It was a magical place, as was her enormous backyard garden. I tried to capture some of that magic of the garden’s four seasons in the arrangements.

Phyllis Andrews

Interpreting: The Fallen Branch (Gallery 321)

Years of participation: 39

Federated Garden Clubs of Minnesota

Co-artist: Nancy Rand (3)

Walks in unspoiled woods often lead to quiet scenes like this lovely French painting , by Fontainbleau, c. 1816, who was a well known for his landscape paintings. The wonder of nature after branches have fallen and start to decay into the earth beneath them, replenishing the soil where they lay. Shelter and sustenance are provided to woodland creatures in need. The rhythms of the universe bring me feelings of peace…. and hope that our planet will survive. The colors and forms of the plant material, found wood and container were suggested by the painting.

Ally A. Anthony

Interpreting: Portrait of Cardinal Pietro Maria Borghese (Gallery 313)

Years of participation: 1

Hy-vee Floral Cottage Grove

The vestments worn by Catholic cardinals are symbolic in many ways. The scarlet color of the mozzettas represents not only the blood of Christ, but also the sincere loyalty of the cardinals, who would be willing to shed their own blood for the church. Additionally, the 12 buttons are to represent the 12 apostles.

Heidi Aslesen

Interpreting: Bathing Feet in a Mountain Landscape (Gallery 203)

Years of participation: 5

Co-artist: Wendy Omland (5)

The vertical flow and shades of peach inspired our florals and sculptural clay work. We are a mother-daughter duo.

Sue Bagge

Interpreting: Cypress at Jade Mountain (Gallery 201)

Years of participation: 39

Ikebana Internatioonal #121

Co-artist: Chad Bagge (14)

The gnarled old Cypress trees were depicted by crisp, dry ink brushstrokes in a very large format. Use of fresh green branches and colorful flowers emphasize the strength of the image of the trees, which can live 1,000 years and is often used as a symbol of longevity.

Mary Bejblik

Interpreting: Saint Romuald (Gallery 343)

Years of participation: 8

In our busy world today, St. Romuald encourages us to live simply and allow the spirit to strengthen our lives as he did, living the monastic life. Plain, yet beautiful.

Barbara Belknap

Interpreting: Reclining Nude II (Gallery 377)

Years of participation: 4

Cottagewood Garden Club

As an artist, I work in cut paper and have long been inspired by Henri Matisse. I am so excited to be able to interpret a work by such a master in my floral display.

Lisa Berg

Interpreting: Washerwomen’s Lunch (Gallery 355)

Years of participation: 15

I was blown away by this painting when I first saw it in this gallery. Its grandeur, despite its common theme, transfixed me. The light! The gravity of the expressions of the women and the girl! Something is going on here that I can’t immediately understand, over a hundred years later. There is something vital, even spiritual, about the composition. The girl, standing there like an angel communicating a holy message. Or is she just a peasant girl, holding some laundry, about to sit down and have lunch with her mother and grandmother? And what are they talking about, with those serious expressions on their faces? It’s 1900, they are doing laundry for people far richer than they are. Are they talking about that? Or are they talking about the daily concerns that we all face? But, against it all, I see the light! The light!

Melanie Bolson

Interpreting: Evening Glow (Gallery 378)

Years of participation: 2

Robin Brown

Interpreting: Door (Gallery 242)

Years of participation: 3

Co-artists: Patty Flowers (2) and David Brown (3)

The Door
Exquisite patterns carved and weathered in wood,
With all its distressed imperfections,
The rusted clavos and latch,
The elegant details formed for function,
These are what drew us in.
With venerated passion,
For antiquated architectural pieces,
We see this work which once welcomed as a threshold,
For a vibrant wealthy estate,
Speaks now of how beauty quietly prevails.
And now in a different place and time,
The “Door” still welcomes those that walk by,
To gaze upon it,
To imagine what it must have been like,
To walk through it.
—David W. Brown

Audrey Busch

Interpreting: The Piazza San Marco (Gallery 351)

Years of participation: 3

Partridge Pond Designs

It was the summer of 1985. Pete, Dave, Michelle, Karen, and I were students at the University of Wisconsin–River Falls. Independently doing research throughout Europe, we had six months to study and travel. While each had a specific city for our research, we often met to explore the art, culture, food, history, and landscapes of countless places both popular and less traveled.

Before cell phones, there were very limited ways to communicate with 25 other nomadic students. There wasn’t the opportunity to use standard pay phones, because most of us didn’t have the ability to be on the receiving end of a call. So meeting at a train station in Rome on any given previously agreed-upon day was the best we could manage and, surprisingly, it almost always worked out.

After arriving in Rome, we had to use travel books for mapping out plans and following directions and go with recommendations from folks along the way. Finally arriving in Venice, with all its delights and wonders and busyness, was like greeting a giant adventure with open arms.

We walked through the narrow streets, the stone walkways, and all the colors and chatter and architecture offered so much to take in. The moment we arrived at the Piazza San Marco, we “knew” we had found what we were looking for. Open space grabbed us, filled with activity, sunshine, more chatter, people—and the domes, the view, the presence, the awe. That’s what I remember. To look at this painting, all these years later, I am amazed and take a breath at the ability of Renoir to capture that same feeling I had, and probably the same sort of feeling many thousands or millions of other people have known when passing that way. For others, maybe it was a daily visit, or yearly, or once in a lifetime. But Pierre has handed us a few precious moments to feel like we are there and a part of the day with the sunshine warming our faces. Maybe we are on our way to St. Mark’s, or just passing through the plaza. But we can go there in his painting, and how incredible it is that, though my own visit was over 30 years ago, and he painted this scene over 200 years ago, he has offered us the feeling that it is today or any day—timeless and beautiful.
Creating this floral arrangement has brought to mind the beauty of flowers, birds, and community. Humans delighting in sharing spaces in Minneapolis or Venice or anywhere. I have pondered the unity of common things and activities, simplicity, colors, and changing moods reflected in the changing light.

Art in Bloom is a celebration of so many things, both old and new, and the people who gather in these spaces to experience something they have never seen or known or noticed before, and at the same time find inspiration and joy in long-treasured pieces. I hope you enjoy today!

Karen Cadigan

Interpreting: Seated Bird Man (Gallery 376)

Years of participation: 4

Co-artists: Lee Cadigan (4)

Christy J. Campbell

Interpreting: Polaris (Gallery 369)

Years of participation: 3

Co-artist: Madeline Campbell (3)

The polaris is a constant for many. We like the cheery, bright, bold blue, the gold highlighting the children, the way they are gathered around and prepared to enjoy, no matter what is going on beyond their play circle. Though these colors are not easily found in flowers, we hope to capture the timeless joy this painting exudes. Sadly, we lost my aunt (one of eight children) unexpectedly in February. My aunt Mary loved children and flowers and was looking forward to coming to Art in Bloom to see this. We dedicate this in her memory.

Lisa Hirst Carnes

Interpreting: Modern Bohemia (Gallery 371)

Years of participation: 2

Co-artist: Susan Ketcham (1)

Vibrant blossoms dance in wild abandon, embodying the free-spiritedness and creative expression of Kirchner’s Modern Bohemia.

Amy Chapman

Interpreting: Jar with Dragon and Clouds (Gallery 206)

Years of participation: 9

AmyAble Gardens LLC

If you’ve had a flying dream, you may have felt giddy when you woke up. Or maybe you’ve watched crows on a windy day, playing with the air currents as they swoop and dive. My aim with this arrangement is to playfully create a feeling of carefree movement among clouds.

Namrata Damle

Interpreting: Winter Mountain (Gallery 227)

Years of participation: 3

Co-artist: Radhika Damle (3)

Our interpretation of Azechi Umetarō’s concise depiction of this winter mountain and climber uses similar cool colors and various patterns.

Michele Darveaux

Interpreting: George Washington (Gallery 305)

Years of participation: 2

I took my inspiration from the red table covering (my favorite color)! George Washington, ever humble, directs our attention away from himself to the Constitution of the United States on the table with the natural light shining on it.

Letti Delk

Interpreting: Mask (Queen Victoria) (Gallery 250)

Years of participation: 12

As a woman of the 60’s, this mask inspires me because it’s worn by Mende women to portray admired feminine features.

Beth Dietz

Interpreting: Well Baby Clinic (Gallery 376)

Years of participation: 4

Co-artist: Kris Gendreau (4)

As two pediatricians, we were drawn to the title of this piece, and then felt every emotion in this artist’s story.

Jane Doyle

Interpreting: Telemachus and Eucharis (Gallery 310)

Years of participation: 2

Co-artist: Kimm Schneider (2)

Our container symbolizes the pain of separation the lovers feel. The setting in the forest inspired our use of greenery.

Georgia Edgington

Interpreting: Skylight (Gallery 300)

Years of participation: 4

This skylight hanging above the heads of bank tellers each day shed “light” through colorful stained glass on their day’s work. It now shines above our head and displays its beautiful and creative design for us to marvel at. I used colorful flowers at different levels to create the feel of depth as sunlight filters through.

Mary Ellen Elliott

Interpreting: Portrait of John Langston (Gallery 306)

Years of participation: 7

Richfield Garden Club Council Sunflower Chapter

In this classical-style arrangement, you will find the deep greens, russets, rich browns, golds, and whites of Gainsborough’s portrait. My goal was to make an arrangement that might have been found in an 18th-century country house.

One of the things I most enjoy about Art In Bloom is the opportunity to research a painting in depth, to uncover the background of the artist and learn about the world in which he/she lived. The colors and dress of banker-politician-country gentleman John Langston speak of prosperity, even wealth, although not royalty. It’s more reminiscent of colonial Williamsburg than of the court of Versailles. We see him looking out, perhaps thinking this sitting is rather tedious, but the portrait is perhaps needed for his country manor. The manor house still exists, not too far from the Churchill estates in west Oxfordshire.

Today, he would have been painted (more likely photographed) dressed in a Saville Row business suit with a contrasting elegant tie, gold cufflinks, and black shoes, seated in a chair much like Gainsborough’s and looking out a window onto the city he helped finance. It would hang in his corporate offices rather than his country estate.

Diane Enge

Interpreting: It’s a Delicate Balance (Gallery 259)

Years of participation: 22


A Manzanita precariously hovers on the vase. Balance is achieved with detailed placement including succulents, bromeliads & bird of paradise.

Katherine Enge

Interpreting: Mask – Senufo, before 1950 (Gallery 255)

Years of participation: 5

Denese Erickson

Interpreting: Female “Long Sleeve” Dancer (Gallery 215)

Years of participation: 17

Minnesota Peony Society

Come and celebrate Minnesota’s peony season with the Minnesota Peony Society flower show at Bachman’s on Lyndale, June 11 and 12, 2023. You’ll see an incredible array of peony blossoms and will be able to expand your knowledge by asking questions of the members who will be happy to assist you. We hope to see you there!

Madison Feather

Interpreting: The Family (Gallery 322)

Years of participation: 7

For as long as I can remember floral design has been a huge part of my life. I remember following my mother around as she registered and designed for AIB her first year. When I was 9, and following my mother around the MIA for that years AIB pedestal florist registration, I decided to register my first time. My first year as a pedestal florist for AIB I was 10 years old, and I remember staying up all night to finish my piece and just being excited that it would be seen. Now this will be my 7th year as a pedestal florist for AIB, and the 9 year old in me is still just as excited for my piece to be seen.

Rachael Finglovsky

Interpreting: Before the Bullfight (Gallery 355)

Years of participation: 3

I was inspired by the work’s intensity- the bold colors, contrast and its immense size. One can’t help but be immediately drawn into this moment. I chose to play with the colors and contrasts with the florals, and to push myself just a bit out of the comfort zone, but certainly not as much as a bullfighter!

Barbara Foss

Interpreting: Man Looking Back (Gallery 227)

Years of participation: 10

Ikebana International: Ichiyo School

Co-artists: Timothy Foss, Pottery

Umetaro Azechi’s passion for mountains and the people of the area became the focus of his work. His art style, self-taught, was primitive—and he was proud of that. He climbed mountains well into his 90s, and his art depicted the natural world. He liked to use nature’s colors, cool ones like blues, greens, and purples. Timothy Foss’s rustic clay pot echoes the earth tones of the natural-fiber rope and the tanned skin of the Man Looking Back. From there, I seemed to be on the mountain trail, envisioning the pines and the colorful varieties of wildflowers and greenery. With my face to the sun, I follow the trail, feeling free, inhaling the crisp mountain air and aromatic flowers.

Elizabeth M. Franklin

Interpreting: Portrait of Lucia Wijbrants (Gallery 309)

Years of participation: 12

Edina Garden Council & Kelodale Garden Club

Co-artists: Celeste, Charles, & Mara Schumacher (12 each)

Blue is the rarest flower color in nature, found in one of 10 flowering plants. The silvery blue tones of the rare objects and dress, as well as the complementary warm reds of the table covering, inspired my design.

Katie Freeman

Interpreting: God’s Gift (Gallery 377)

Years of participation: 1

Co-artist: Beth Brown (1)

Our inspiration comes from Chatmon’s use of visually striking mixed media, which portrays an angelic presentation of both strength and grace.

Kristi Gauvin

Interpreting: Modello for a neoclassical design for boiserie decoration (Gallery 314)

Years of participation: 1

Co-artist: Merodie Peterson (1)

Merodie and I decided to get involved with AIB because my mother was one of the original AIB PFAs. This piece is dedicated to her; she loved her garden. We felt this piece brought to mind a Victorian-era garden, many of which had a Grecian theme. Looking at the Modello transported us to an English garden, meandering along the pathways to the heart: a Grecian statue flanked by her regal sentinels. Take a walk with us.

Jeremy Gavard

Interpreting: Lady’s Writing Desk (Gallery 314)

Years of participation: 2

I was inspired by the boldness and elegance in the changing roles of women during this period. Luxury, privilege, and mastery of wood sculpting.

Christine Gepp

Interpreting: Stele of Maitreya Buddha (Gallery 200)

Years of participation: 21

Kelodale Garden Club

Sunrise and sunset colors remind me of the daily search by mankind for compassion and universal love.

Rita Gindt-Marvig

Interpreting: Tray (Gallery 210)

Years of participation: 5

While planning for this arrangement the goal was to keep the overall design simple while emphasizing the details and the feel of the tray.

Becky Haaf

Interpreting: Vajra Warriors (Gallery 205)

Years of participation: 4

These warriors are strong and fierce. My floral interpretation shows the strength of each warrior as they guard the entrance to this gallery. I use dried natraj branches and fresh flowers in bold colors to depict the lines and strength of these brave warriors.

Jo Ann Hall

Interpreting: Guardian Lion (Gallery 208)

Years of participation: 2

North Star Lily Society

Co-artists: Phyllis Andrews (39)

We were inspired by the power, solidity, and majesty of the lion.

Kathleen “Kat” Hanson

Interpreting: Interference and a Tiny Spot of Hope (Gallery 261)

Years of participation: 17

Richfield Garden Club

Initially I was attracted to the boldness of the elk “flying” through the air. As I further acquainted myself with the painting, I found an exceeding amount of symbolism. It’s like a jigsaw puzzle: you must examine each piece before you can understand the painting. When I shared the painting with others, they all had unique interpretations that I had not thought of.

I believe all art is open to interpretation, depending upon how you look at it. Everybody sees things differently, and there is no right or wrong. It’s your interpretation.

Melanie Harer

Interpreting: The Viaduct at L’Estaque (Gallery 371)

Years of participation: 2

I found the fauvist color choices appealing, and I sought to mimic them as well as the pre-cubist use of geometric form.

Heather Hauta

Interpreting: Wire Cone Chair (Gallery 379)

Years of participation: 7

I see movement in the lines that make up this wire cone chair. My eyes are drawn to the heavily saturated, solid cushions. I want to represent this wire cone chair through the lines of this vessel and the brightly colored carnations I have chosen. I hope to portray that the space you can see through the vase is like the space you can see through the base and back of this chair. At the top, a dense spot of color represents the cushions of this chair.

Leah Hedman

Interpreting: Prancing Horse (Gallery 215)

Years of participation: 4

This piece reminded me how very similar people are. Many cultures bury items with the dead for the afterlife. In addition, ancient people were concerned about having the best, most powerful and impressive things and this is still true of people today. I wonder if this tomb horse is meant to exhibit qualities that the person wishes to be associated with even if they may not be immediately perceived that way.

Kathleen Hedstrom

Interpreting: Commemorative Dish depicting the fall of the Kingdom of Kandy (Gallery 211)

Years of participation: 1

Aspiring Designs

Co-artists: Nancy Jacobs (6) and Stacy Revard (1)

Primary colors in the flag are gold, red, and green. We chose pussy willow to represent the lion, protector of its kingdom.

Georgia Heisserer

Interpreting: Diana as Goddess of the Hunt (Gallery 311)

Years of participation: 2

University of Minnesota Women’s Club

Co-artists: Sandy Swanson (2)

Simply put, Diana through the ages has been an example of women’s strength and purpose. May the actions of brave women continue to inspire us. Absorb beauty and react accordingly.

Mary Kay Herman

Interpreting: Presentation Vase (Gallery 350)

Years of participation: 4

Inspiration for my floral artwork started with some fact finding about the silversmiths Rundell, Bridge and Rundell. Fascinated by the beauty of the cup, I learned that this piece was a collaboration of artists and sculptors of the day: Sir Francis Chantrey provided the overall concept, Thomas Stothard modeled the two military reliefs on the vase, and Edward Hodges Baily sculpted the elephant heads and the snakes.

The journey of learning the colors and flowers of India began when I learned the cup was created for a regiment in India. Bright pink, red, gold, orange, and purple were used to make this floral artwork come alive! It is my hope this arrangement makes you forget we may still have snow on the ground. Spring will be here soon. It was a wonderful learning experience and lovely departure from all the cold and snow.

Meg Hillary

Interpreting: Silenus (Gallery 321)

Years of participation: 1

Floral splendor and decent human behavior replace the evil ways of Silenus, a lustful, drunken woodland god from Greek mythology.

Jenny Hindbjorgen

Interpreting: St. Paul and St. Barnabas at Lystra (Gallery 311)

Years of participation: 6

Bachman’s – Eden Prairie

Julie Holland

Interpreting: The Three Graces (Gallery 321)

Years of participation: 14

Amy Houle

Interpreting: Princess Anna Colonna Barberini (Gallery 310)

Years of participation: 3

An Italian noblewoman, true to her faith during tumultuous times. These flowers represent flora true to her generation.

Lauren Inserra

Interpreting: The Merced River in Yosemite (Gallery 323)

Years of participation: 3


I love the outdoors, so I was mostly inspired by the landscape along with the dreamlike feel of the painting.

Noriko Ishida

Interpreting: Shinto Priest’s Robe (Gallery 220)

Years of participation: 24

Ikebana International: Sogetsu School

A Kariginu was hunting wear for aristocrats. I arranged yellow flowers for this 100 years old Shinto priest’s robe.

Carla Jefferson

Interpreting: Furniture Hanging or Bed Cover (Gallery 217)

Years of participation: 9

Minnesota Herb Society

Co-artists: Deb Carpenter (1), Bonnie Hector (9), and Deb Nedden (1)

We would like to dedicate our 2023 Art in Bloom piece to our friend, fellow member, and artist, Eleanor R. Wagner. Elly was always a moving force for our Art in Bloom interpretations. We miss her energy, artistry, and creativity in our first year back after covid lockdown. Our inspiration comes from ginger, used as a culinary and medicinal herb for centuries in Asian cultures Ginger is the 2023 International Herb Association Herb of the Year. Additionally, peonies, roses, chrysanthemums, and favorite herbs are featured both in the artwork and in our interpretation.

Debra Kammerer

Interpreting: Songkok (Princely Crown) (Gallery 213)

Years of participation: 11

Interpreting political or religious art must be done respectfully and with reverence. I hope I have done this. The flowers I’ve used are statice and baby’s breath.

Dennis Kelner

Interpreting: The Birthday Party (Gallery 351)

Years of participation: 5

The darker tones of the painting intrigued me. I wanted to show this through the flowers and still have a sense of celebration.

Barbara Kennedy

Interpreting: Taoist Stele of Five Deities (Gallery 201)

Years of participation: 24

Ikebana International: Sogetsu School

Ikebana studies use mass, line, and color for arrangements. Using a freestyle creative expression, I placed the figures in a staggered way, creating interest and movement. Greenery, color, and line materials contribute to the design and overall feeling.

Annette Korolchuk

Interpreting: Portrait of Mlle. Lange as Danae (Gallery 306)

Years of participation: 2

Co-artist: Andrew Korolchuk (2)

We encourage you to listen to Two Minutes with the Curator: Portrait of Mlle. Lange as Danae.

Barbara Kramer

Interpreting: The White Bridge (Gallery 323)

Years of participation: 15

The strong lines of the bridge, trees, and stream are portrayed by orchids, curly willow, trachilium, and delphinium. These artistic lines are softened with small pastel-colored flowers, including baby’s breath, golden aster, and chamomile, reflecting an impressionist style.

Amy Kubas

Interpreting: Study for Portrait VI (Gallery 376)

Years of participation: 6

My intention was to emulate beauty and agony through natural and man-made materials. Here, I have chosen carnation for love, thistle for protection, and an urn for death.

L.M. Kutcher

Interpreting: Judith with the Head of Holofernes (Gallery 307)

Years of participation: 2

Collino’s application of the dramatic, flowing baroque style to a somber, heroic subject drew me in and inspired this arrangement.

Barbarajo Kuzelka

Interpreting: Currency Blades (Gallery 236)

Years of participation: 6

Botanical Brilliance

Co-artist: Kate Sobraske (5)

Consider this astonishing currency blade and the coins in the nearby fountain: both are money used to make purchases. However, one is portable and pedestrian, while the other is unwieldy and extravagant. This is not pocket change.
The size of the currency blades of the Lokele people of the Democratic Republic of the Congo reflects their value. A small currency blade would work for groceries, but a massive currency blade like this would be used only for major, life-changing purchases: to get land, to get out of debt, or to get a wife.

Ronald Kvaas

Interpreting: Portrait of Anna Blocken (Gallery 312)

Years of participation: 4

Lake Owasso Garden Club

Co-artists: Beth Oelke, Vatsala Menon, Wendy Lucas

A hint of a smile says there is much more beneath the surface of her colorless world.

Kristin Langerud

Interpreting: The Gamblers (Gallery 312)

Years of participation: 6

Co-artist: Mary Langerud (6)

Dolinka Kate Lee

Interpreting: Hevajra and Nairatmaya (Gallery 211)

Years of participation: 3

Compassion has been a word I have been meditating on for over a year now; it is a practice and a mantra for me in my own life. When I came upon this piece, I knew it would inspire me to dig deeper in my own practice of self-compassion and to approach this year’s piece with the wisdom compassion holds. It helped me soften my own edges of judgment and self-imposed expectations, so that something new could be formed and experienced. It is my intention to translate the “something more” that comes from merging the two.

Lucy Lee

Interpreting: The Denial of St.Peter (Gallery 313)

Years of participation: 2

Peter denied Jesus three times, even using his hands to deny it. In this piece, everyone is against Peter. This can be seen in the way they are glaring and pointing at him. When I see this painting, I do not think Peter is ashamed or has failed as a disciple. When Jesus was arrested, all the disciples hid to avoid persecution. Only Peter followed him into the place where he was judged. Peter ended up denying Jesus because of the pressure and ridicule by others. This is a part of human nature. There are times when we are unable to stand up for what is right. Peter was weak at a time of great pressure and denied Jesus. However, Peter believed Jesus would forgive him. Therefore, when I see this painting, I see hope, not failure.

Stefanie Levi

Interpreting: Mask, Olmec (Gallery 260)

Years of participation: 5

Emerson Dual Language Immersion Elementary School

Co-artists: Atzin Dávila Luinenburg (5), Izel Dávila Luinenburg (5)

Olmec comes from Nahuatl language. It means rubber people. We do not know what the Olmec called themselves because we do not have enough clues about their language. We know they started sourcing rubber from trees and learned to refine it and made rubber balls to play the hoop and ball game on huge stone courts. The Olmec ate chocolate, corn, beans, and squash, and some animals. They were great artists and had many powerful gods.

We’re not sure yet which flowers we’ll use for our display. We could build it with flowers of the same colors as the mask, or we could use red, white, black, blue, pink, purple, and yellow flowers.

The mask has thin red lines that look like stringy things and blood. The green color of the jadeite makes us think of the leaves of corn.

Lori Lippert

Interpreting: Female Figure (Gallery 241)

Years of participation: 1

In designing my floral art piece, I drew upon the formal elements of the Female Figure, its psychological/aesthetic qualities and its deep antiquity.

The figure is quite simple—a very restrained shape with minimal details rendering a clearly recognizable female form. Although the figure is relatively small, it conveys a certain monumentality. And, while the piece is extremely old (about 4,000 years!), it strikes us as surprisingly modern. We make that association, of course, because much of modern art is concerned with stripping away ornamentation in order to capture the essential qualities of the subject. Hence, we see a similarity between Female Figure and, say, a Modigliani portrait (see Gallery 367).

Thinking about these formal qualities, I aimed for a simple, yet striking, floral arrangement. I strove to make the biggest impact with the fewest strokes. I kept the scale small and mimicked the strong verticality of the figure. In a nod to the counterbalance of the prominent horizontal arms, I incorporated a horizontal element in the floral piece. Female Figure is made of Parian marble. The marble is a mottled gray color, which is not common in fresh flowers, but we associate marble, antiquity, and modernity with white, so that is the color I chose for the flowers. The marble in this piece also has a peach-y colored patina, which I incorporated as a minor note with the secondary flower.

When I contemplate this work of art, it strikes me as very quiet, but at the same time powerful. At first look, the piece is easily comprehended: Ah yes, that’s a woman. But upon longer consideration, it evokes a certain mysteriousness. Who made this? Was the artist a man or a woman? Why did they make it? Is she a goddess? A mother? A lover? Is she a good luck charm, a source of comfort, of strength, of protection, particularly for the afterlife? I wanted my floral piece to capture a similar familiar yet mysterious quality.

Finally, I am struck by how ancient this piece is; it is prehistoric! Not only is this piece one of the oldest objects in Mia’s collection, Cycladic figures are considered to be among the first sculptures ever created. I hoped to capture a sense of both the ancient and the modern in my plant material and formal choices.

Additional background on Cycladic figures:
There have been hundreds of these figures excavated from burial sites in the Cyclades, an island group in Aegean Sea off the coast of Greece. They date to 2700–2400/2300 BCE, at the beginning of the Bronze Age. While there are examples of different types of figures, for example harp or pipe players, they are predominantly female figures. The female figures are remarkably similar in form—straight-forward standing position, prominent nose without other facial figures, crossed arms, with small breasts and pubic area.

There doesn’t appear to be scholarly consensus on the use or meaning of Cycladic figures. While it has been suggested that they are artifacts from a woman-centered society and goddess culture, this interpretation has not been widely accepted either by traditional nor feminist archaeologists. It is a theory most enduringly embraced in the Goddess movement, which emerged in the 1970s. The movement grew as a reaction to perceptions of predominant organized religion as male-dominated. The interpretation of artifacts such as Female Figure as evidence of an ancient goddess culture provides a type of origin story for contemporary goddess-oriented spiritual beliefs and practices.

Carol Lui

Interpreting: Flock of Cranes (Gallery 223)

Years of participation: 18

Ikebana International: Ichiyo & Ohara Schools

Bamboo and pine symbolize longevity and endurance. A cherished wedding symbol, cranes live long and mate once for life!

Amanda Luke

Interpreting: Portrait of Mademoiselle Dubois (Gallery 351)

Years of participation: 1

Lakewood Cemetery

Floriography first emerged in 1819 with Charlotte de la Tour’s “Le langage des fleurs” and it grew in popularity throughout the 19th century. In floriography, floral bouquets and arrangements were created to inspire and share feelings, thoughts, and emotions in a new and beautiful way. In the creation of this design, I’ve weaved in floral language (which would have been popular at the time when this artwork was created) to evoke and call to the emotion behind this beautifully subtle painting.

Wendy Lutter

Interpreting: Tile Painting depicting Bahram Gur and Fitna “Practice makes perfect” (Gallery 243)

Years of participation: 4

Co-artist: Paige Lutter Bosler (1)

Our piece was initially inspiring because of the bold colors and many floral motifs in the work. Wendy grew up spending a lot of time in Tunisia, and both of us recognized a similar style from the many Tunisian ceramic dishes in our home. We chose a vintage Tunisian ceramic serving dish as our vessel because its bold cobalt edge ties in with the blue tones in the piece. We also love the themes of the story depicted. Fitna carries a calf up the stairs every day to grow her strength. Chamomile is often used to represent patience, which Fitna needed a lot of to prove her point that practice makes perfect.

Yasuko MacNabb

Interpreting: Woman’s Shirt, Apron, and Skirt (Gallery 210)

Years of participation: 16

Ikebana International: Sogetsu School

Wonderful memories: I have been to the border of China in northern Vietnam, where there are many different ethnic minorities. They climb up and down mountains carrying these baskets, loaded with the day’s harvest.

Lauryn Magwaro

Interpreting: The Immaculate Conception with Saints Francis of Assisi and Anthony of Padua (Gallery 330)

Years of participation: 1

When I look at this painting, I think of purity, majesty, might, and godliness. To be honest, I was nervous to receive this work of art. But as I continued to look at it, the more I was intrigued with the colors and the waves in the portrait. The colors chosen for my floral design were intentional. The blue vase pays tribute to the Virgin Mary’s cloth. The browns, greens, coral, and yellows also accent the colors seen in the portrait. The scale of this painting and the pops of color allow us to imagine the huge responsibility it must have been for Mary. I wanted this design to be simple, yet have accents of color to portray how the Virgin Mary was a virgin, despite being given the great responsibility of being the mother of Jesus.

Kathryn Malody

Interpreting: Squirrels and Grapevines (Gallery 203)

Years of participation: 32

North Star Lily Society and MN Federated Garden Clubs

Co-artist: James Malody (2)

This 1905 Chinese ink monochrome painting was commissioned for a Japanese patron, “Master Soto.” I was first drawn to this image because of the strong curved line of the grapevine; this line is also found in the handle of my Japanese basket. It seemed appropriate to combine nods to both Chinese and Japanese cultures in this floral design. Then, as I looked closer, I saw the two squirrels. The shape of the squirrel tails reminded me of the shape and curve of flowering ginger. Their playfulness continues to give me great joy.

Jamie Manning

Interpreting: Maebyeong with flying cranes and clouds (Gallery 206)

Years of participation: 2

Co-artist: The vase was made by potter, Connie Pyatt

The Maebyeong, or “plum vessel,” was originally used to store water, wine, or other beverages. In later times, it was used for displaying plum branches in early spring. Today, the distinctive shape of the Maebyeong vessel is frequently used in traditional Korean flower- arranging, called Cocoji.

I am using a Cocoji-like design for my floral interpretation to honor this ancient Korean vessel. I have chosen flowering branches as a basis for my design, as well as white orchids and chrysanthemums to interpret the cranes and clouds that are inlaid under the celadon glaze.

Laurel Manoles

Interpreting: Christ Among the Doctors (Gallery 341)

Years of participation: 2

Co-artists: Caryl Manoles (2) and Erin Manoles (2)

Every year Jesus’s parents went to Jerusalem for the festival of the Passover. When he was 12 years old, they went up to the festival, according to the custom. After the festival was over, while his parents were returning home, the boy Jesus stayed behind in Jerusalem, but they were unaware of it. Thinking he was in their company, they traveled on for a day. Then they began looking for him among their relatives and friends. When they did not find him, they went back to Jerusalem to look for him. After three days they found him in the temple courts, sitting among the teachers, listening to them and asking them questions. Everyone who heard him was amazed at his understanding and his answers.

When his parents saw him, they were astonished. His mother said to him, “Son, why have you treated us like this? Your father and I have been anxiously searching for you.”

“Why were you searching for me?” he asked. “Didn’t you know I had to be in my Father’s house?” But they did not understand what he was saying to them.

Then he went down to Nazareth with them and was obedient to them. But his mother treasured all these things in her heart. And Jesus grew in wisdom and stature, and in favor with God and man.

Pamela Marie

Interpreting: Avalokiteshvara Bodhisattva in the Water-Moon Form (Gallery 200)

Years of participation: 8

Pamela Marie Interiors


Elements were chosen for their meaning as well as their connection to the art itself:
WILLOW Avalokiteshvara is carved of willow, a strong and flexible wood with many uses as well as restorative medicinal remedies.

LOTUS The clean, simple, beautiful lotus flower grows out of mud and in darkness, signifying the depth and darkness Avalokiteshvara is willing to enter into in order to serve the desire to “free all beings from suffering.”

PINE An evergreen, it symbolizes eternal life, regeneration, and is said to heal physical and psychological wounds and awaken the spirit. Its paired needles conjure up joy in relationships and fertility. The resin is used to purify, sterilize, embalm, and preserve. Like the lotus growing out of darkness, pine can grow in poor soil (something to consider for ourselves if what we’re growing in is not rich and fertile).

MOON FLOWER Floating on the water’s surface, the small white flower signifies the reflection of the moon and Avalokiteshvara’s need for reflection in order to renew and continue her work.

Avalokiteshvara originated in India, but is well known and well loved by many names throughout many lands and cultures, including “She Who Hears the Cries of The World.” She is known both as a male and a female (these days the pronouns might be “they/them,” and we might say they’re nonbinary!). The Chinese name is Kuan Yin or Guanyin, and is known to contain the compassion of all Buddhas. Amitabuddha enlightened (an enlightened being that chooses to help others rather than enter Nirvana) sits in the headdress on this piece. Also depicted with a 1,000 arms, and every hand has tool for each situation.

“Beauty transcends rationality, it’s the mystery itself,” said DT Suzuki Roshi. When we have eyes for it, beauty is found even in sadness, despair, and tragedy. When seen, it’s nurtured to bloom fully, conjuring up gifts greater than we could have imagined. There is a teaching in everything, and Kuan Yin wrote 100 poems that help people through the ups and downs of life.

MOON-WATER FORM S/He’s a very busy being and has the energy to keep working toward an incomparable desire to “free all beings of suffering” because s/he knows to take good care of he/rself. In this piece, s/he’s depicted sitting in a favorite cave, gone there to take a deep breath and renew. Being in nature, embraced by the earth of the cave, s/he sits in repose in the still of the evening, where the earth’s magical healing powers and the reflection of the moon in the water never disappoint. There is a Buddha teaching about understanding that the reflection of the moon is not the moon itself—a little check on reality and our mind’s imaginings.

WILLOW Carved of willow, a sacred, flexible tree known for its ability to withstand the greatest storms, a characteristic of Avalokiteshvara. Known to have healing powers, it is soft, pliant, and tough, with strong, large, tenacious roots that readily sprout. Those qualities are embodied by Kuan Yin. Grecian mythology associates willow trees with afterlife, and Celtic cultures linked it to lunar cycles and fertility. Willow’s power and perseverance are embodied in its ability to “spring” out early and “fall” late. Willow was used to make tools, sacred statues and architecture, household goods, and medicine, things that Kuan Yin with her thousand arms would utilize. Willows are connected to water and, with their regenerative powers, are beautiful even when weeping. “There are always flowers for those who want to see them.”—Henri Matisse.

Karen Marinovich

Interpreting: Alixa and Naima (Gallery 374)

Years of participation: 5

Co-artists: Merrie Marinovich (5) and Michael Marinovich (1)

My sister and I participate in AIB to honor the memory of our mother, who enjoyed attending AIB each year. This year we expanded the familial participation to include our brother, an expert wood craftsman.
This mixed-media structure is anchored by the love of two women, which in turn unifies the disparate urban salvage. We chose wildflowers for our display, as they are often found along a roadside as a nod to her salvaged street art.

Gabi May

Interpreting: Temptation (Gallery 357)

Years of participation: 1

Co-artists: Max May (2) and Sadie Whiteis (2)

Plump. Pure. Simply sweet.

Tara McCarthy

Interpreting: L’Anse du Goulineau (Gallery 354)

Years of participation: 11

A fellow French artist said about the painter Henry Moret: “Coasts, forests and valleys—in every season he observed them with all of his senses, reproducing them with all his spirit and sincerity.” The L’ Anse du Goulineau is bursting with color and life. Everything is in bloom. I would love to be IN this painting. I can imagine how wonderful the trees and flowers would smell, the feel of the soft, welcoming grass, and the calm, peacefulness of the water. What a gift Moret has given us.

Holly McDougall and Kristen McDougall

Interpreting: Basket of Flowers by René Jules Lalique 1933 (Gallery 379)

Years of participation: 14

We are a mother-daughter team who have participated in Art in Bloom for 14 years. Our artwork is a very simple plaque by Lalique, typical of the late 1920’s and early 1930’s. It was designed to be illuminated, but unfortunately the cord is disconnected. It would be stunning if illuminated! Lalique was known for his organic, asymmetrical Art Nouveau panels. It was interesting to us to learn of his transition to symmetry and the more geometric forms of Art Deco, where he was equally renown. This plaque is elegant and simple. Our goal was to reflect that spirit with our arrangement. We aimed to echo the arc of the plaque with our arrangement. It seemed to beg for white Gerbera daisies. We took creative liberties by using bamboo on the container. We were inspired by the influence from Asia on art and fashion at the time. We felt the bamboo stalks worked well as an interpretation of the lines in the vase.

Perry McGowan

Interpreting: Mami Wata (Gallery 255)

Years of participation: 5

Friends of Life

Co-artist: Zuzana Menzlova (1)

Mami Wata is a water spirit of great beauty and great danger. She brings us love and fortune, trepidation and ruin. In her presence, we are reminded of the instabilities of life, where great powers swirl about unseen bringing unexpected (and sometimes unwanted) directions to our earthly entanglements. In the face of these uncertain fortunes, we call today for celebration of these creations from the spirit circus that surrounds us, Mami Wata. Our ancestors, departed friends—these are our spirit gifts and our heritage in our world of the living.

Kristen McWilliams

Interpreting: Wedding Procession (Gallery 215)

Years of participation: 5

Hennepin County Master Gardener Intern

Co-artist: Phillip McWilliams (5)

Our wedding was not the production of this one – it was simple, but full of memorable mishaps. It all started when a college friend scheduled her wedding the same day/time as ours but got her invitations delivered as we were addressing ours. We shared most of the guest list, so a sticker on the invitations announced the time change. Just a sampling was 98-degree evening weather in a unair-conditioned church to an almost absent bridesmaid, to a real live streaker down the main aisle! We have so many more upset stories we could tell. Everyone remembers our wedding!!! We hope the grandeur and flourish of this Chinese wedding foretold a marriage as happy and solid as ours has been. It just goes to prove, don’t sweat the wedding. Put the effort into the marriage.

Gail Mengelkoch

Interpreting: Allegorical Still Life with Bernini’s Bust of Francis I d’Este (Gallery 330)

Years of participation: 3

Petals to Pines at 101 Market

I was inspired by this painting, because it seem to encapsulate man in the whole world around him. The striking cool blue sky, the vibrant white of the bust, the warmer bronze and gold colors balance each other in unexpected ways. I also thought it was interesting that the painting by Francisco Stringa includes another artists’ work, Bernini’s Bust of Francis I d’Este, so there is art within art. I am using strong, bold colors, hearty floral textures, leaf manipulation, and wire work to emulate the different textures of the items in the painting.

Cherry Merryweather

Interpreting: Figure (Gallery 250)

Years of participation: 1


In deference to the honorable purpose this figure provided her community of origin, I have prepared an offering to present to her with an appeal to bring good fortune, free-flowing creativity, and protection to the artists and the pieces they bring to Art in Bloom. Please take a moment to reflect on what you seek in times of distress, as well as times of joy, and allow yourself to consider what you show in gratitude for your good fortune.

Carol Michalicek

Interpreting: The Evening Walk (Gallery 357)

Years of participation: 4

Co-artist: Sally Howell Johnson (4)

Raffaelo Sorbi’s The Evening Walk spoke to us not only in its beauty, but also of its imagined story. As an artist known for narrative painting, Sorbi often chose subjects that pulled the observer into a scene that uses light and color to weave a tale. In The Evening Walk we see people deeply engaged with the natural world and with one another. The painting portrays images of being fully present in the landscape and in the gift of relationship. These connections are seen in a narrative style that uses repeated patterns: people in pairs both in the forefront and the background, and a young girl intimately connected to a bouquet of wildflowers.

We were reminded of the intense nature that walking took on in the pandemic. Streets were closed down so people could walk outside in safety, becoming a part of the landscape in ways they perhaps never had before. They walked in pairs or sometimes alone, holding the gift of the natural world in their bodies. Walking became the story that spoke of resilience, hope, and the promise of a new day. The simple act of walking became a sacred lifeline to many and became imprinted on our pandemic story.

As the poet Rainer Maria Rilke writes in his poem “A Walk,” we were among those who were “grasped by what we cannot grasp,” held in an “inner light, even from a distance.”

My eyes already touch the sunny hill,
going far beyond the road I have begun.
So we are grasped by what we cannot grasp;
it has an inner light, even from a distance-
and changes us, even if we do not reach it,
into something else, which, hardly sensing it,
we already are; a gesture waves us on
answering our own wave . . .
but what we feel is the wind in our faces.
We feel privileged to have spent time with this beautiful work of art and to honor the gift that walking can bring to our lives.

Kathleen Moccio

Interpreting: Mask, Nafana (Gallery 250)

Years of participation: 1

I love the geometric features of the mask and its ceremonial nature. I was excited to use flowers, which mark many U.S. ceremonies, to connect to another culture. To honor the mask’s purpose, I chose calla lilies, which represent purity and an expectation of fertility, and anthuriums, which represent hospitality and abundance. The mask’s disc reminded me that we all share one planet and while our cultural icons may vary, we all have similar hopes and aspirations. Like the individual flowers in the design, our unique characteristics add interest and beauty to our world.

Mary Ann Morgan

Interpreting: Still Life (Gallery 367)

Years of participation: 7

Mary Ann Morgan Studio

The painting Still Life by Juan Gris was third on my list of choices to interpret for Art in Bloom this year because I was attracted to the strong contrast of the black and white lines and curves in the center of the painting. It is interesting to see how he softened those stark lines by surrounding them with subtle earth tones. I create and I am drawn to many abstract paintings because they can be uniquely interpreted by the viewer so conversation possibilities are endless. Enjoy!

Adele Morris

Interpreting: Taisho Pond (Gallery 226)

Years of participation: 10

I love the artist’s rich palette and the simple, direct way he captures the grandeur of this place.

Mary Mulvehill

Interpreting: Lake Superior Landscape (Gallery 323)

Years of participation: 6

Beverly Munson

Interpreting: Immaculate Madonna (Gallery 310)

Years of participation: 17

Richfield Garden Club

Italian marble is used to depict purity and incredible movement which I hope to capture in lilies and leaves.

Jenae Murphy

Interpreting: Coffee Pot (Gallery 350)

Years of participation: 1

This coffeepot was in production by Gorham during the 1890s. I had a lot of flexibility with creative direction because this piece was to be used for after-dinner coffee. I took inspiration from popular floral arrangements during the Victorian era, the thistle motifs as well as their meaning, and the Turkish style of the coffeepot.

I chose a tall, silver antique-style vase similar to styles you would see during the Victorian era that would resemble the beautiful shine from the coffeepot. As for the flora and fauna, I chose to emulate the silhouette of the elongated spout and handle while still having a Victorian style of fullness at the focal point. I chose to stay with a rather pale and green palette as well as soft blooms to accentuate the pop of color and the harshness of the thistle.

As my first year participating in Art in Bloom, I hope I did justice to the artwork I was so excited to receive.

Dixie Nelson

Interpreting: Saint Martin and the Beggar (Gallery 343)

Years of participation: 7

Lillies de Fleur

Co-artist: Nancy McNee (7)

Our interpretation of the passion in this artwork combines a medley of colors – scarlet, indigo, ebony and white with a mixture of floral textures and shapes.

Karla Newman

Interpreting: Cosmic Connection (Gallery 375)

Years of participation: 18

James Phillips’s love for improvisation used in early jazz led him to incorporate improvisation in his visual arts. My floral creation is inspired by his distinctive use of pattern, movement, color, and depth.

Jen Pacyga

Interpreting: Coat (Gallery 240)

Years of participation: 4


Ever since I was a little girl, I have liked textiles, color, and flowers. All three loves are combined in this piece!

Debra Page

Interpreting: Saint Ambrose (Gallery 330)

Years of participation: 1

I have long admired the depth of this portrait, despite the fact that I have no connection to Saint Ambrose. The contrast between the golds, reds, and blues is remarkable. The tapestries and fabrics connote history and wealth, and the pointed miter is a particularly poignant centerpiece.

Micky Paine

Interpreting: Vase in the form of a mosque lamp (Gallery 243)

Years of participation: 6

Ron Paine

Interpreting: Amoghasiddhi (Gallery 212)

Years of participation: 3

I was inspired by the concept “have no fear”, and the accomplishment of overcoming 4th stage cancer and other family terminal medical problems.

Shayla Petersen

Interpreting: Zurich (Gallery 371)

Years of participation: 3

The Vintage Bowl

In an attempt to match the grand scale and gorgeous colors of this stunning piece, I’ve chosen an assortment of large, ornate flowers housed in a vase reminiscent of the frame.

Barbara Proeschel

Interpreting: Hat (Gallery 210)

Years of participation: 8

Co-artist: Kari Jaksha (8)

The Miao people of China have used and admired silver since ancient times. Miao silver objects are a unique art form and carrier of culture. Silver hats are used to beautify, ward off evil, and as symbols of wealth.

Richard Raiche

Interpreting: City Nights (Gallery 378)

Years of participation: 16

I’m always drawn to straight lines and architecture. Note: The city skyline and towering buildings make the moon look so small and insignificant.

Linda Leraas Ray

Interpreting: Salmon Fishers at Nesoya (Gallery 355)

Years of participation: 17

Daughters of Norway

I have used this split-wood basket that is shaped like a boat for other AIB arrangements through the years. Spruce tips, birch branches, blue delphinium, hydrangea, and roses mirror the colors and textures used by the artist. I have been to Norway twice, and have even been to my ancestral farms. One farm, or gård, near the mountainous area of Bergen, is very remote, and it takes nearly two hours to hike up the mountain to Leiro Gård (Leraas) when the trail is slippery. The rugged path is surrounded by woods of pine and birch, and very much reminds me of northern Minnesota. Many early Norwegians must have felt at home when they settled along the shores of Lake Superior to commercially fish and created the township of Tofte. Var så god!

Mayumi Redin

Interpreting: Untitled (Gallery 375)

Years of participation: 20


I was inspired by the work of artist Yayoi Kusama. I encourage you to look up her artwork.

Dawn J. Renner

Interpreting: Votary Figure (Gallery 241)

Years of participation: 11

This Persian figure is at once grand, yet approachable. Her unmistakable approachability comes from the sweep of the robes. When the statue was originally created, it might have been brightly colored, but this representation distills the color to highlight the drape in the robe by the use of the greens and the minimalism of shape.

Judy Ring

Interpreting: Self-Portrait (Gallery 307)

Years of participation: 2

Co-artists: Sarah Crowe (1)

When you turn the corner into Gallery 307, you simply cannot miss our impressive subject. His stately pose and rich colors draw you in for a closer look at the gilded details of his dress and surroundings. Our arrangement aims to radiate movement, rich color, and golden detail and, most importantly, the pride and eminence our subject exudes.

Jill Risse

Interpreting: The Philosophers (Gallery 340)

Years of participation: 10

Richfield Garden Club

I hope to highlight the beautiful colors and textures with florals. What do you suppose they are talking about?

Terri Ristow

Interpreting: Circular Armchair (Gallery 218)

Years of participation: 10

Terri Ristow is a local visual and theatre artist. She enjoys reusing materials and discarded items to create Art in Bloom displays, theatre props, stage dressing, and haunted house installations.

Claire Roberts

Interpreting: The Asparagus Vendor (Gallery 309)

Years of participation: 2

I took on this endeavor to challenge my creative expression and give back to the community. It has been a great test of attention, patience and letting go of control. Flowers have a mind of their very own, fizzing and dancing with each other and I follow their lead.

I chose this painting because of the depth, pattern, color and movement. I hope my arrangement captures the obvious and allows viewers to admire the details that might not be the first to catch your eye.

Deborah Rodgers

Interpreting: Taigong Wang, Dragon, and Carp (Gallery 219)

Years of participation: 3

The dragon represents the devil, and the waves represents the lake of fire.

Jodie Rodne

Interpreting: Prestige Bowl (purukei) (Gallery 256)

Years of participation: 6

Nadine Ronning

Interpreting: Tablecloth (Gallery 261)

Years of participation: 6

Co-artists: Mary Bona (6), Sally Perovich (1)

We honor and celebrate women artists inspired by this tapestry, which wraps one in the warmth of color and joy of nature. To reflect Winyan Hcaka’s (“The True Woman”) heritage, we hope to incorporate flowers native to North America (such as yarrow, sunflower, green dragon, coneflower).

Sharon Sampon

Interpreting: Saint John the Baptist (Gallery 308)

Years of participation: 4

Gabriel Graphics

Co-artist: Heather Wulfsberg (4)

The magnificence of religious art is expressed in every culture across the globe. No matter one’s religious affiliation, agnosticism or atheism, this art form speaks to the human condition. It is rendered in all forms of the medium, crafts, carving, artifacts, painting, sculpture and textiles. St. John the painting has the lushness of earthly beauty and the hope of heavenly delights. We are bringing the two together in our floral arrangement with the gauze extension that reaches for the heavens while languishing in contemplation in the here and now.

Shelley Schmokel

Interpreting: Jewelry box (Gallery 310)

Years of participation: 26

The delicate flowers on the stone insets want to push out of their dark black container.

Ceallaigh Smart

Interpreting: Untitled (Portrait), from “After the Fall of Hmong Tebchaw” series (Gallery 374)

Years of participation: 2

Co-artist: Karin Farrington (1)

Our composition is inspired by “invisible boundaries,” like the one that separates the subject in the photograph from the botanicals that surround her. This beautiful visual metaphor demonstrates how challenging the journey of complete acclimation can feel for those who are far from where they consider home to be. The terrarium is a physical representation of this type of emotional boundary, where growth is still allowed but separation continues to exist.

Cindy Snowberg

Interpreting: Lunette (Gallery 300)

Years of participation: 14


The fluid movement of the stylized floral challenges the sturdiness of the earthy terracotta.

Cindy Soule

Interpreting: Pot (Gallery 236)

Years of participation: 11

Iris Society of Minnesota

The texture and colors of the pot will be interpreted in the container I use with Iris and tropical flowers.

Patrick Stahl

Interpreting: Duxiu Peak (Gallery 222)

Years of participation: 9

Ikebana #121 Ichiyo School and MZMC

“Go have some tea” – Chao-chou

Paul Sternberg

Interpreting: Temple Lion Censer (Gallery 214)

Years of participation: 5


This is such a fabulous bronze and I am thrilled and honored to represent it in Art in Bloom. I feel it looks part dragon, part dog, part lion. I love its facial expression. My arrangement will represent the many horns, tongue, tail, and eyes of the work in flowers. Curly willow will represent the incense that would emanate from this bronze. The container with cloud décor is made of wood and papier mâché coated in drywall plaster and paint.

Amy Strodl

Interpreting: White Plumes (Gallery 377)

Years of participation: 3

Ambrose & Arthur

Co-artists: Jamie Carl (3)

Inspired by one of the key leaders of fauvism, Henri Matisse, we leaned into the idea of the color and shape of flowers, an expressive rather than literal interpretation. Not being professional florists but rather lovers of fashion, flowers, and architecture, we have embraced the joy of translating plumes, ribbons, and the flushed cheeks of a 19-year-old girl into orchids and antique roses.

Mareth Sullivan

Interpreting: Stool (Gallery 250)

Years of participation: 5

Millet is the main crop grown by the Dogon tribe. I have incorporated dried millet along with brightly colored flowers inspired by their ceremonial attire. For decades, anthropologists, linguists, and historians have been fascinated with the Dogon tribe for their extraordinary knowledge of the cosmos, some suggesting that ancient aliens imparted advanced knowledge regarding the stars and origins of mankind on Earth. I, too, am fascinated!

Brenda Sussna

Interpreting: Amida, the Buddha of Infinite Light (Gallery 200)

Years of participation: 7

Ikebana International: Ichiyo School

An ancient Buddha, time-worn yet solid, displays the essence of Buddhism: the reality of impermanence, behind which lies continuity of truth and compassion. The hand mudra is the teaching gesture, symbolizing the transmission of the dharma, or truth, that things will change, what is old will crumble and fall away, and yet every moment is fresh and full of possibilities.

Janice Swanson

Interpreting: Portrait of Anna Buchner (Gallery 342)

Years of participation: 12

Hennepin Technical College, Greenhouse, Horticulture Program

The container, to me, is the starting point. It has to have a “feel” of the art piece. I have seen some wonderful floral designs, but the container doesn’t carry it through. I thrift shop for containers. My sister did not understand why that was the area I looked at first. I brought her to Art in Bloom, and then she understood why. I have a stockpile of containers, and I can use them more than once. This container I used for George Morrison’s Collage lX: Landscape.

Marylou Theisen

Interpreting: Portrait of Moritz Buchner (Gallery 342)

Years of participation: 7

I love the color orange, the fur cape and that he is displayed next to wife, Anna Buchner, whom I chose in 2016.

Ruth Thompson-Klabunde

Interpreting: Lamp (Gallery 379)

Years of participation: 5

The Art Deco theme and colors of the lamp captured my attention.

Yoko Toda

Interpreting: Buddha Stroking the Head of a Follower (Gallery 200)

Years of participation: 10

Ikebana International: Sogetsu School

I wanted to express Buddha’s nobility and affection with purple flowers and his followers’ faith and happiness with colorful flowers. I may combine them with white flowers.

Jessica Malody Tomaselli

Interpreting: Knife and Fork (Gallery 350)

Years of participation: 2

I was inspired by the juxtaposition of the linear utensil paired with the organic lines of the coral.

Amber L. Tritabaugh

Interpreting: Tunic (Gallery 240)

Years of participation: 4

Petals to Pines Floral at 101 Market

Spring yellows and whites
Warm-cool energy tension
Chevrons to whimsy

Sonia Tuduri

Interpreting: Loie Fuller (Gallery 322)

Years of participation: 1


Spin and turn, turn and spin.
I want to dance, I want to leap.
Look at me, what do you see?
A bird, a heron, or a golden beauty queen!

Jerry Voci

Interpreting: Tazza (Gallery 350)

Years of participation: 10

This silver ornamental object was inspired by the Lives of the Caesars, a second-century CE book that describes the lives of the first 12 Roman emperors. This tazza features Augustus’s portrait with (accidentally) scenes from the life of Caligula. Augustus (Octavian) was the first emperor of Rome, ruling from 27 BCE to 14 CE. Inheriting the empire from Julius Cesar at age 19, he expanded the empire, ended civil wars, enacted religious freedoms, and supported the growth of an enormous trading network. Upon his death, at age 75, he was so well loved, the Roman senate declared him a Roman god.

I selected these floral elements to represent aspects of Augustus and Roman Empire culture:

Bay laurel: The wreath represents the crown, a symbol of triumph and military victory, adopted by Romans from Greek culture. In ancient Roman religion, Victoria, the goddess of victory, was often depicted crowning gods and emperors with a laurel wreath in her hands. Ancient laurel wreaths were usually depicted as a horseshoe shape. “Do you rest on your laurels?” is common phrase we use today.

Rose: The ancient Greeks and Romans associated roses with love and passion. In ancient Rome, roses were used as a legal form of payment due to their scarcity, and therefore their value, since they were imported from the Middle East. The value of roses led to the establishment of large public rose gardens. The Latin expression “sub rosa” (literally, “under the rose”) means something told in secret. In ancient Rome, a wild rose was placed on the door of a room where confidential matters were being discussed.

Calla lily: This flower is included for its shape and color, which are reminiscent of the Roman toga, the overgarment worn to show off the wearer’s social status at important public events. Various laws and customs restricted its use to citizens, who were required to wear it for public festivals and civic duties. It was made of white wool. The calla lily “Picasso” is used here to depict the white toga and purple royalty. In ancient Rome the calla lily symbolized lust and sensuality.

Carnation: This is a substitute for dianthus, the “divine flower.” The Romans spread dianthus around Europe after pilfering them from the Spanish province of Biscay as spoils of war.

Oak leaf: The Romans viewed oak leaves as a symbol of virtue, strength, courage, dignity, and perseverance. They were considered a good omen and frequently used in crowns and wreaths.

Allium: This is a substitute for the herb fennel, which was widely used in Roman cooking. This is used as filler. I may substitute or combine it with other herbs used in ancient Rome, such as thyme, savory, basil, celery seed, and mint, based on availability.

Sarah Wall-Hauri

Interpreting: Ritual Bis Pole (Gallery 256)

Years of participation: 1


Anne-Lise Whitescarver

Interpreting: Parody of a Beautiful Woman as Rin Nasei with Crane (Gallery 223)

Years of participation: 4

Ikebana International: Sogetsu School

“The white ume blossom / Yesterday, the cranes / Were stolen” – Matsuo Bashoo 1644 – 1694

Erick Wiger

Interpreting: Arm Reliquary (Gallery 340)

Years of participation: 6

Anoka Ramsey Community College

Beatified relics
rattle in pounded sterling

The Faithful seek blessings
from the Eternal
Outside the window
Lilies sway.

Britta Wilson

Interpreting: Triptych of the Virgin and Child with Saints Andrew, John, Catherine & Eustis (Gallery 230)

Years of participation: 9

“It takes a village to raise a child”. All the flowers coming together to create a beautiful bouquet.

Rebecca Wilson

Interpreting: Prajnaparamita (Gallery 213)

Years of participation: 4

Co-artists: Heidi Ott (4)

I was drawn to this piece and the idea that it represents the “Perfection of Wisdom,”; also, that it refers to the female deity Prajñāpāramitā Devi, personification of wisdom, or the “Great Mother.” I wonder who the artist was and what it meant for their time.

Violet Wilson

Interpreting: Water coupe (Gallery 210)

Years of participation: 4

I decided to keep the green and white colors using lotus flowers and pods, different textures and greenery.

Mary Yee

Interpreting: Portrait Sculpture of Priest Gyoki (Gallery 220)

Years of participation: 6

The stillness of this sculpture creates a moment of calm in our day; the arrangement echoes this feeling of tranquility. I am using flowers with Asian origins in keeping with the creation of this sculpture. Note that the priest is holding a ruyi or ceremonial scepter which is a stylized lotus leaf. I have included miniature ruyis and lotus seedpods in the arrangement. I chose flowers to complement the subtle patina of the painted wood.

Karen Yngve

Interpreting: “Burst Bag” Freshwater Jar (Gallery 224)

Years of participation: 30

Ikebana International #121

Strong, undulating lines in this ceramic water vessel are reiterated in the materials selected and arranged for this floral interpretation.

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