Onzai

Composed from what has fallen

Branches, moss, stone, and bloom, held in formal relationship.

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A studio of proportion and scale.

Onzai sets found objects in proportion to one another. Branches, moss, stone, seed pod, sola flower — gathered and arranged in a single vessel. Each piece draws from stumpery, bonsai, and flower arrangement without being bound by any of them.

Meadows

01 / 05

Meadows

Fields of small heads, dense and even.

A field of small bright heads, gathered into a single low vessel. These pieces work in repetition and in mass, in the architecture of many small things held at the same level.

  • Elysium
  • Hana-akari
  • Pomona
Constellations

02 / 05

Constellations

Spheres on stems, points in air.

Seedpods, woven spheres, and round forms held on stems above their vessels. The composition is verticals and points, the orbit of small bodies around a center. A figure made of many.

  • Tartarus
  • Kore
  • Verdancy
  • Folly
Skeletons

03 / 05

Skeletons

Lines and silhouettes, kept exactly as found.

These pieces are about structure. Bare branches, dark twigs, a single arc of manzanita. The forms are honest, the silhouettes precise, the lines kept exactly as found.

  • Chthon
  • Boneyard
  • Kodama
  • Terminus
Mossworks

04 / 05

Mossworks

Moss as subject, mass as form.

Moss is rarely the subject. It is usually the floor of someone else's arrangement. These pieces invert that and let moss compose itself, in mound, in cloud, in topiary, in landscape.

  • Humus
  • Wabi
  • Kakuriyo
  • Musubi
Gardens

05 / 05

Gardens

Mixed registers held in a single vessel.

A garden is the most ancient of arrangements, and the most open to whatever belongs. These pieces gather flower and branch and pod and stone into one vessel and hold each register in formal relationship.

  • Ossuary
  • Perseids
  • Estuary

In rooms

Where the work lives, once it has been chosen.

The artist

Edward Blee

Stylist, curator, and collector of fallen things.

Edward Blee

Edward Blee was born and raised in Philadelphia. For decades, he worked as a stylist and later owner of Persona Salon in Boston, building a reputation as one of the city's leading stylists. During those same years, he designed and curated homes across Boston, Savannah, and now Palm Springs. He incorporated stumpery into these spaces from the beginning, sculptural arrangements of found and natural materials that lived in yards and rooms. Some were temporary. Some stayed.

What started as a recurring interest became something more focused. He collects obsessively now. He walks through the Coachella Valley and deserts. He picks through local dealers. Road trips across the country end with a car full of branches and driftwood and stone. The searching is part of it.

Onzai is the work itself. These pieces draw from stumpery and bonsai and flower arrangement, but they're not bound by any of those traditions. They exist in a state neither living nor dying. They need nothing from you. What he's after is proportion — the way different aesthetic languages sit together in miniature space. He's interested in scale and how it shifts what you're looking at.

From the desert to the room.

A piece is the patient end of three steady acts. Each begins where the previous one quieted.

  1. Gather

    We walk the desert and the canyons. What we bring back is what we find — a branch the wind shaped, a stone the rain wore, moss from a north-facing wall. The searching is part of the work.

  2. Compose

    Pieces sit in the studio until the proportion is right. A composition emerges slowly. Sometimes a single arrangement takes weeks. Proportion is the question, and the question takes a while.

  3. Place

    Each finished work is one of one. It is collected by local pickup in the Palm Springs area, and meant to live in a single room, for a long time.

Each piece is one of one.

Prices are shared on request. Work is collected by local pickup in the Palm Springs area; it does not ship. If a piece holds your eye, write to us — that is where it starts.