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Vessels by Miya Kosowick using clay mined directly from the earth in the Algarve, at Enso House.
Enso House Residency
Nestled in southern Portugal, Enso House is a retreat designed to nurture artistic discovery, encouraging presence, process, and the beauty of imperfection. This residency offered me the space to slow down and listen to nature, to experiment with clay mined directly from the earth (first time trying this!), with branches and bamboo reimagined into ephemeral structures.
A highlight of this time has been my collaboration with Sasha Grigorik, founder of MOS Studio. Based in London, MOS is a multidisciplinary design, installation, and floral studio crafting bespoke contemporary floral concepts that blend the language of nature with the beauty of art. Sasha’s practice is deeply informed by ikebana, the Japanese art of flower arranging, which resonates with my own exploration of dualities: permanence and impermanence, wild and cultivated, wabi sabi. Together, we foraged, built, and reflected, creating installations that blurred the boundary between nature and vessel.
One of the days I took refuge from the heat, hiding in the studio looking through the entirety of Modern Ikebana: a New Wave in Floral Design. As an artist, I have no background in floral design, my inaccurate preconceptions about the field was about its overly decorative nature and I never made art that was all that pretty. However, learning about the spirit of Ikebana, I now realise there is a closer affinity to it within my practice than I ever even aware of. As a Japanese Canadian artist, I explore the notion of uchi/soto, which relates to both space, architecture, and society.
“It’s important that my work decays. That is withers. There is a beauty in that, in the idea that it’s a fleeting short-lived experience. Maybe it is a little bit like music” Azuma Makoto (163)
Nestled in southern Portugal, Enso House is a retreat designed to nurture artistic discovery, encouraging presence, process, and the beauty of imperfection. This residency offered me the space to slow down and listen to nature, to experiment with clay mined directly from the earth (first time trying this!), with branches and bamboo reimagined into ephemeral structures.
A highlight of this time has been my collaboration with Sasha Grigorik, founder of MOS Studio. Based in London, MOS is a multidisciplinary design, installation, and floral studio crafting bespoke contemporary floral concepts that blend the language of nature with the beauty of art. Sasha’s practice is deeply informed by ikebana, the Japanese art of flower arranging, which resonates with my own exploration of dualities: permanence and impermanence, wild and cultivated, wabi sabi. Together, we foraged, built, and reflected, creating installations that blurred the boundary between nature and vessel.
One of the days I took refuge from the heat, hiding in the studio looking through the entirety of Modern Ikebana: a New Wave in Floral Design. As an artist, I have no background in floral design, my inaccurate preconceptions about the field was about its overly decorative nature and I never made art that was all that pretty. However, learning about the spirit of Ikebana, I now realise there is a closer affinity to it within my practice than I ever even aware of. As a Japanese Canadian artist, I explore the notion of uchi/soto, which relates to both space, architecture, and society.
“It’s important that my work decays. That is withers. There is a beauty in that, in the idea that it’s a fleeting short-lived experience. Maybe it is a little bit like music” Azuma Makoto (163)
Portal 2025
Miya Kosowick
Palm leaves, wire
Collaboraitve installation by Miya Kosowick and Sasha Grigorik, 2025
Bamboo, palm leaves, rock, wire
Arrangements by Sasha Grigorik using Vessels by Miya Kosowick