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Braer is an old word for ‘briar’ which is loosely translated to mean ‘a tangle of wild roses’. At Braer, they specialise in creative events, installations and art direction.

Braer is composed of a small team of multidisciplinary artists working with the common thread of sustainability; local flowers – being their medium. The way they think about flowers and work with flowers is with a deep reverence for the natural world. Flowers and their finite existence are a practice in mindfulness itself. The impermanence and cycles of nature can teach us so much about being human beings, and artists.

Braer is home to a selected range of handmade vases, objects, and tools available in-store and online, and fresh flowers arranged to order and delivered around Byron Bay. Since launching in 2016, their work has centered around photography, events, installations, and servicing the visions of their business clients.


As artists working with local flowers as your medium, how do you approach the challenge of embracing impermanence in your installations and events? How does the finite existence of flowers inspire your creative process? 
The technical side of working with fragile and imperfect plants and flowers is exciting to us. This logistical side is what always keeps it interesting when designing with flowers. Sometimes the materials used and the mechanics behind it dictates the entire design – sometimes it is for just one day and it will wilt and die in front of your eyes.The core of our work is centred around holding a deep respect for the value that beauty brings to this world. Existing at the same time as a bloom should be a celebration of a moment. The finite existence of flowers is a constant reminder of change, and the impermanence of every feeling, moment, and memory. Admiration of the particularity of place and the deep resonances that a certain milieu can have with our souls.

Braer’s name is inspired by the meaning ‘a tangle of wild roses’, symbolising both beauty and complexity. How does this idea of ‘tangle’ influence your work?
At Braer we create with the idea of ‘beauty in the unexpected’. Often, we find joy in working with materials that would often not be expected to be found with one another. Nature never questions – but takes space with confidence and sometimes contradiction, a metaphor we often mirror in our work. We listen to our material and work with the forms it naturally follows – sometimes being a tangle. Our aim is to inspire all in participation of our way of viewing the world, a transcription to personal practice.

Sustainability is a core principle at Braer, and your work revolves around the cycles of nature. How do you incorporate these values into your art direction and installations, and in what ways do you encourage your audience to reflect on their own relationship with the natural world? 
Most people are unaware that the floral industry is actually extremely wasteful. Flowers can be imported from overseas, often wrapped in excessive and unnecessary packing. At Braer we believe in working with seasonal flowers and local growers & finding creative ways to work ‘floral foam free’. The first step in conception of a project is often questioning “what in season right now?” that feels special to use. By recognising the beauty of local materials we encourage people to look with wider eyes at the beauty of in season flora and fauna of our region.

Our work is always inspired by Japanese Ikebana & the space between branches and blooms. We practice a style of Ikebana called Sogetsu Ikebana. The Sogetsu school of Ikebana was founded by Sōfū Teshigahara in 1927. When everybody believed practicing ikebana meant following established forms, Sōfū Teshigahara recognised ikebana as a creative art. Anyone can enjoy Sogetsu Ikebana anytime, anywhere, using any material. As Sofu Teshigihara said “This space is a plentiful void projecting tension and power”. This way of arranging flowers is a practice in minimalism.

How do you infuse a touch of uniqueness into this traditional Ikebana art form?
Ikebana can be described as a traditional art of Japan which has developed a symbolic language as well as decorative concepts, and the use of natural, ephemeral flowers and branches makes the dimension of time an integral part of the creation. Our work is deeply rooted in the same Japanese tradition and philosophy, emphasising harmony, balance, and minimalism. We always work keeping that sentiment in mind. We are always thinking about mass and line and balance in an arrangement. We cant claim to be masters or teachers of Ikebana, but it is our greatest influence.

We have designed a range of pottery with long time collaborator and friend of Braer. Azzmin & Gus designed the range to be a fusing of two worlds, the flowers and the vessel that holds them. All Pãn Pottery pots are hand made by Angus McDiarmid using a traditional wood fire kiln, kick wheel and hand dug local clays. Each pot is completely unique as the clay and fire decide the finish of the pot. There should be harmony among the container and the materials used . The flowers are of equal importance to the container. The container which could be chosen to complement the materials selected for the arrangement, or to provide inspiration for the creation.



Join Braer after hours at The Sunseeker Hotel for immersive twist on Still Life drawing. Braer has teamed up with Hot Mess Studio to bring you a theatrical and surrealist evening of bodies and plants.

Enjoy a food sensory installation to pair with the mood of the evening created by MIRA, who conceives food as an art medium, destined for interactivity and made to trigger thought.

Ticket price includes: All art materials / Flowers to draw / Model to draw (Hot Mess Studio) / Wine by Natural Order Wine / Grazing by Mira.


Byron Shire

Byron Shire


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