A study into expressing the fluctuations in scenery and vegetation of the streams and still waters of Japan in a single aquascape.  When selecting aquatic plants, I didn’t limit myself to Japanese native species but chose plants that evoke a similar atmosphere to those found in Japan. The shimmering schools of Barilius bakeri helped emphasize the flow of water.

Expressing an Imagined Landscape Condensed from Japan’s Watersides

 

－－－ This piece has a somewhat unusual structure. Could you tell us about the concept behind its creation?

The left side represents the upstream region, and the right side represents the downstream region. I attempted to incorporate these two regions within a single waterscape. I would say it was a challenging waterscape to create. My inspiration was Japan’s watersides. Rivers have upstream, midstream, and downstream areas, and the scenery in each of these regions differs, as do the types of aquatic plants that grow there. This transformation became the theme of my work. To be more specific, the left side expresses the mountainous stream region. Mountain streams are characterized by rocky environments, fast-flowing waters, and a sense of energy. This results in eroded rocks and washed-away topsoil. The plants that thrive in these areas are ferns and mosses that grow on rocks or fallen trees. Meanwhile, the right side represents downstream areas, primarily lakes. In lakes, the water flow tends to be calm, and you can see a variety of aquatic plants like submerged plants and emergent plants. I created this piece with the idea of condensing such changes into a single aquarium, but to be honest, it was quite difficult. I really brought this challenge upon myself.

 

－－－ The concept is certainly innovative. The choice of materials for the composition also differs between the left and right sides, doesn’t it?

Yes, that’s right. The materials on the left side are large and rugged, like stones and driftwood, while on the right side, these materials have been eroded and washed downstream, so I placed smaller stones and driftwood to express a more worn-down appearance. If you look at the composition photos, you’ll notice that the scenery becomes more tranquil as you move from the left to the right. I also placed a large piece of driftwood diagonally in the center to secure space and express the flow from a higher elevation to a lower one, acting as a bridge that connects the two landscapes.

－－－ So the theme of the piece is the transformation between upstream and downstream regions?

Yes. I titled this waterscape “Transforming Watersides”. Japan is rich in nature, with numerous rivers due to its many mountains. Mountain streams are narrow and fast-flowing, but as the altitude decreases, these waters converge into wider, slower rivers. I’ve always found the changes in Japan’s waterside landscapes and plant life fascinating. I think my childhood experiences, like playing in clear streams and catching fish in lakes, influenced my ideas as well.

 

－－－ So your inspiration comes from the natural environment around you.

Exactly. The natural environment around us in Japan is incredibly delicate and charming. You can observe the upstream region in mountain streams and the downstream plains with just a little travel. For this piece, I visited mountain stream areas, observed them, and then moved downstream to lakes, expanding my inspiration along the way.

－－－ It looks like you also used Japanese aquatic plants.

Yes, since I based the piece on Japan’s waters, I tried to use as many native Japanese aquatic plants as possible, such as Eleocharis acicularis, Nuphar japonica, Limnophila sessiliflora, and Persicaria hastato-auriculata. However, I wasn’t strictly committed to only Japanese plants; I also used tropical aquatic plants like Helanthium tenellum. Even with the addition of these plants, I didn’t feel they disrupted the image of Japan’s watersides. My intention was to express the delicate and gentle beauty of Japan’s watersides.

 

－－－ It sounds like this was quite a challenging creation.

Yes, I would say so. The layout divides the left and right sides into different worlds, with different energies of water and Japanese aesthetics. It was undoubtedly difficult (laughs). I had never attempted something like this before, and looking back, I think I could have done a better job of blending the left and right sides. But trying out new expressions like this is a great learning experience, and I believe it leads to growth.

 

－－－ In AJ vol. 343, you introduced a piece called “Pondering the Waterside” which also focused on Japan’s watersides. Is there any connection between that piece and this one?

Yes, there is. “Pondering the Waterside” was introduced earlier in AJ, but I actually created this current piece first. “Pondering the Waterside” expands on the image of the right side of this piece. I find that working on a series of pieces with the same theme helps me solidify my own image or expression, which is why the pieces might resemble each other. With both pieces, I aimed to showcase the unique beauty of aquatic plants. Recently, I’ve noticed a lot of works that focus strongly on the composition materials, so I wanted to convey the charm of aquascapes where transparent and soft aquatic plants play a central role.

－－－ I see. It’s been about three years since you created this piece. How do you feel when you look at it now?

Looking back, I still find it interesting. The composition is unique and beautiful, but I feel like there’s a roughness in the expression. I think I could have balanced it better, and although I initially wanted to clearly separate the left and right sides, now I feel that it might have been better to blend them a bit more. Nevertheless, I’m glad I challenged myself with this expression.

 

－－－ What was the most difficult part?

The biggest challenge was keeping the overall balance despite the clear distinction between the left and right sides. Looking back, I think I could have done better in that regard. However, I would like to continue experimenting with this kind of divided layout in the future. I think it could be interesting to apply this pattern to landscapes from places like the Amazon or Africa, or even use my impressions from my travels in India.

 

－－－ Since you conduct layout seminars overseas, it seems that the landscapes you encounter during your travels provide good inspiration.

Yes, traveling abroad always provides fresh inspiration. Seeing fish and aquatic plants that I usually only see in aquariums in their natural habitats is very moving, and I get a strong sense of the unique character of each region. At the same time, it makes me appreciate the delicate beauty of Japan’s nature even more, and memories of my childhood by the watersides come flooding back. As an ADA SUIKEI Creator, I work on various layouts, but sometimes I feel the urge to just create aquascapes based on Japan’s waters. I’m not sure if you’d call it going back to my roots, but this piece really does reflect my inner landscape.