Page 12 - Tạp chí bonsai cây cảnh BCI 2014Q3

power of Viewing Stones, and the guidelines within
these traditions proved to be invaluable when consid-
ering how to creatively display them.
I make every effort to keep the stone’s natural
sculpted form, removing only the algae and Zebra
mussels with a power washer and numerous fine
brushes. The process of cleaning, turning, flipping,
and angling these stones tends to draw me further into
their unique structure and subtle detail, which further
amplifies their story and our relationship. Through
this direct contact and numerous “conversations” with
the stones, their true character is slowly revealed; on
occasion this process can take years. Presentation or
display is intended to elevate the stone, to transform
it from rock to art, and to highlight its “best face.” The
base, essentially, may be considered as merely a func-
tional embellished accommodation.
My basic craft of mounting each stone continued
to develop but I found myself drifting toward a more
contemporary interpretation of stone display. By this
time I had been exposed to a variety of styles and, as
such, better able to offer unique alternative approach-
es for each stone. However, this creative liberty pre-
sented its own challenges. Often times the drive for an
artistic and expressive design would run rampant in
my studio and need to be reined in to restore primary
focus on the stone. This process, sometimes by trial
and error, could extend completion time immensely.
I am fascinated by and attracted to the abstract
nature and emotive power of Viewing Stones,
regardless of their origin. Being sensitive to the local
geology seems to enhance the story and appreciation
for these particular stones. From the dynamic forces
which originally created them through their elemental
changes over time, our experience with them in
comparison is brief. As are Torii gates to Shinto temples,
so too are Viewing Stones metaphoric portals by which
we can transcend our human condition. This art form
helps me pause and be reminded of a much-loved
Canadian wilderness aesthetic. I fully anticipate
pursuing these stones, and many of their relatives,
wherever they may take me. The Viewing Stones of
Lake Huron have thus become my Torii.

ABOUT THE AUTHOR: Tony Ankowicz grew up in Toronto, Canada
and spent almost every summer vacationing with family in the
Georgian Bay area of Lake Huron. His stone collecting started in
the early nineties and took a giant leap when he was introduced
to Suiseki a few years later. He has shown pieces at the Ojibway
Art Show, Lands End, “Richard C, Anderson Gallery,” and at the
Stone Appreciation Symposium. Several of his stones have been
published in BCI Bonsai & Stone Appreciation magazine. Tony’s
first article about Georgian Bay stones appeared in Waiting to
be Discovered magazine in 1999. He currently lives and works in
Madison, Wisconsin with his wife. They have five children and two
grandchildren who also enjoy annual vacations at the family cot-
tage on Georgian Bay. More on www. viewingstonedesign.com.

10 | BCI | July/August/September 2014