Mark Pampling

Floral Judge and Master Florist

Mark Pampling’s love and respect for flowers as a medium is palpable in his stunning floral designs. He kindly spoke with us about his work as a florist, floristry teacher and demonstrator, floristry judge and industry consultant.

What inspired you to pursue a career in the floral industry?

Well, after finishing school I didn’t have a clear idea of what I wanted to do, so I began a degree studying Japanese, Economics, Psychology and Chinese, but I finished up completing a Business Degree that focussed on Hospitality Management. I quickly realised that what I enjoyed most about working in hospitality and events was creating environments; in marquees and ballrooms and restaurant interiors, and decorating them to evoke a particular feeling. And I particularly enjoyed that those moments were fleeting. Flowers fit perfectly with the temporary nature of entertaining and, while doing this work, a family friend invited me to join her floristry course. That was where all those interests collided, and I knew that was what I wanted to do. 

Some people strive to create ‘permanence’ by sculpting in bronze or carving stone. What do you think attracts you to the impermanence of floral design?

I think it has a lot to do with not wanting to leave a trail of things behind me. When dealing with horticultural materials, your work ‘dies’ and you can move on to the next. Of course, unfortunately, the floral industry still has waste products, but I like that I don’t have my entire back-catalogue of work with me. I think it supports constant evolution and allows you to move on. I also feel a great connection to nature in my work and a respect for the lifespan of a flower. You can’t wander around for weeks on end, thinking about what to do with a dahlia. They require you to be considerate of their lifespan and to be in the moment to work with them. 

You are a man of many talents; what does an average week look like for you?

For me, there is no such thing as an average week – the closest I have come is actually in recent times, with the current situation with covid-19. It has meant there is more similarity between my weeks than there is usually. Often, they involve quite a lot of travel, presentations, some writing, and demonstrations. It’s usually a bit of a juggle; I love a good to-do list. I write daily, weekly and longer-term to-do lists. But lately, I have enjoyed having this time to just peacefully be at home.

Your floral designs are works of art. Do you have a sculptural background?

No, in fact, when I was at school my two favourite subjects were Art and Japanese – and on the high school timetable, they clashed. Eventually I succumbed to family pressure and studied Japanese, which was thought to be the wiser choice, so I didn’t get to study art at high school, unfortunately. But I don’t feel that I was robbed of that opportunity. Over time, especially through my work as a teacher, I have filled that gap. 

My interest is also largely in design because I like solving problems. I feel that there is ‘art’, which is about expressing things and asking questions and seeing things differently, and there is ‘design’ which is about finding solutions; offering answers and it always has a purpose and a context. I don’t think that there is really a large place for ‘art’, in that sense, within the world of floristry. I can think of one artist who works with flowers and plants in that way; Azuma Makoto. He does incredible things. He’s sent bonsai plants and floral arrangements into orbit and has a ‘flower laboratory’ in Tokyo (for more about Azuma’s work, see www.designboom.com/tag/azuma-makoto/)

In your role as a floral judge, what do you look for? Is there anything that particularly excites you?

Increasingly no, I’m sorry to say! (laughs) – I think that just comes from knowing more and seeing more. Usually when I am judging there is a clear set of criteria – for example, ‘The Elegance of Beijing’ would require a designer to find a definition of ‘elegance’ and ‘Beijing’ – and so I am looking to see that the criteria are met. I am also always looking for a connection; a piece should ‘feel right’ and ignite a sense of connectedness in the viewer. I also look for designs that convey a sense of balance and harmony, something that I am always striving for in my own designs. I often refer to some wonderful books on design principles by Gregor Lerch. He is a German Master Florist, and a friend of mine, whom I greatly admire. His books give a wonderful sense of the philosophy and theory surrounding floral design (www.gregorlersch.de). His books are practical and comprehensive and they cover everything from the basics of traditional and classical floristry, right through to modern and conceptual work. 

Are you noticing any new trends or opportunities within the floral industry at the moment?

I think that the current social media landscape is certainly impacting the world of floral design. I am noticing that some of the people who are recognised as being at the forefront of floristry are particularly adept at using social platforms, which can put them ahead of florists who are perhaps even more highly skilled, but less skilled with social media and self-promotion. I am trying to understand this better, because this is definitely the direction the industry is taking.

Another thing I have noticed with the current climate is that people are finding a greater appreciation for what is local and nearby. Our flower supply chain has been localised with fewer planes bringing international flowers into Australia. It has come at a time when we seemed to be undervaluing what we have at hand. It felt as though the industry was being driven by a consumerist tendency to always want to have something newer and ‘cooler’. For now, I’m hoping that we can focus more on skills and craftmanship and our own personal styles, rather than on what’s trending. 

Do you have any floral ‘don’ts’?

I’m not sure I have a floral ‘don’t’… What I have noticed lately, is people wanting ‘new new new’ and a tendency for my students to want to skip the basics and try instead to copy the work of popular florists they admire… and it’s ultimately unfulfilling. I’ve been teaching a lot in China recently, and certainly feel that many of my students there are keen to develop their own individual styles, but struggle to accept that learning the fundamentals of design is what will enable them to get there. They want to skip the groundwork, but it is so important to build a good base. Once you master the basics, then you can really develop your own style. 

What message would you give to Gold Coast florists and flower lovers?

Flowers connect us to nature, and they are a wonderful access point to creativity and creative expression.  As I said earlier, I hope that our current trend to look to the wealth of beautiful flowers that we have right here is something we should strive to continue.