Page 34 - Tạp chí bonsai cây cảnh BCI 2013Q4

25 26
These pieces are inspired exhibition at the National Arboretum titled Following
by the practice of adhering Asian Traditions organized by the Potomac Viewing
stones together to form larger Stone Group employed an especially effective educa-
compositions, as in the rocker-
ies of Chinese gardens and tional strategy. Stones were presented in three groups,
in the Japanese, Chinese and Chinese, Japanese and American. The combination of
Vietnamese tray landscapes. the signage and the thoughtful organization made it
Collection of the artist. clear to viewers how the burgeoning American view-
25 “Snow stone” mortar, gold ing stone practice related to the more established tra-
leaf on wood/Bondo bases. ditions of China and Japan. Using an exhibition such
26 Marble, flagstone, mortar as this as a point of departure, viewing stone clubs
on wood bases. might consider devoting a section of an upcoming
27 Marble, flagstone, mortar exhibition to stones belonging to members interested
on wood bases.
in experiment and innovation. Another possibility
27

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28 This arrangement of a stone, a rusted beer can and a slab of weathered wood, all found
at the same desert site, questions our stewardship of the natural world. Collection of the
artist.
29 This pair of objects posits a correspondence between accidents of nature (the pattern
in the stone) and accidents in the studio (the piece of scrap wood was used as a table saw
cutting guide) Collection of the artist.
Ceramic “stones” were valued antiquities. These ceramic pieces evoke individual stones and
distant landscapes.
30, 31 Clay, paint, India ink, wood/Bondo bases. Collection of the artist
32 Glazed ceramic on wood base. Collection of the artist.

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32 | BCI | October/November/December 2013