Bonsai inSites
Curator's Statement

    Steeped in centuries of tradition, the art of bonsai is an ever-evolving art form often described, in fact, as "living sculpture." With origins in ancient China, nearly a thousand years of development and refinement in Japan and the widespread appreciation and practice today, bonsai has adapted itself to reflect the various tastes and times of the many countries, cultures and climates from where it has taken root. Never static, bonsai, almost by definition, is about growth. Each bonsai tree, after all, is never a finished artwork, rather always, a work in progress. And so when one views any exhibition of bonsai, even the "masterpiece trees" from prestigious collections and exhibitions, one only glimpses a moment in time. Similarly Bonsai inSites,Collaborations between Tree and Container is just this, a moment in time for bonsai art, not necessarily a radical break with its traditions.
     Bonsai, in literal translation is simply "tree in a container." And this time-honored relationship between bonsai tree and the clay container is the core premise of Bonsai inSites. Although a growing number of bonsai enthusiasts are looking for the unique and the unusual as they search for a pot for a special tree, most turn to readily available imports of Japanese or Chinese manufacture, typically traditional in design. The prevailing guidelines for selection of bonsai containers strongly suggest that they be complementary to the tree, its style and form, texture, color and mood- much the same, it is often noted, as a painter would select a frame to display a particular painting. Cast in this traditional role, the container performs a rather passive, albeit supportive part in the overall scheme of things. The tree is the focus. And beyond fundamental horticultural requirements, the bonsai pot is traditionally selected to support but never upstage.
     Bonsai inSites is intended to activate the dialogue between bonsai and container, between the tree and the site or situation in which it is perceived. Rather than merely a "frame" for the artwork, in this exhibition the bonsai container provides a framework for content and meaning. With much contemporary sculpture, the artist often creates with a specific location in mind. The potential of the site influences the artist and therefore the artwork, and in turn the site is revised and transformed by the work. Context is often a source of inspiration for the artist and critical to the viewer's appreciation and understanding. There can be reciprocity, even collaboration.
     The possibility of collaboration for this exhibition began with an appeal to the membership of the Potomac Bonsai Association to make available mature, styled trees from their personal collections. Should they be willing to participate, they would have to allow ceramic artists the freedom to interpret the presentation of their bonsai. As always, there are risks in collaboration. When willing to rethink standard practices, artists surrender a degree of control over their normal processes and products. I am most grateful to my bonsai colleagues who were willing to take this leap of faith.
     Once the thirty-five trees that were offered by twelve members of PBA were all photographed, a website was designed so as to share the trees with the participating clay artists. The site included multiple views of each tree, detailed information about dimensions and the minimum planting area required for each tree.
     A group of 17 ceramic artists from both the US and abroad were invited to participate in Bonsai inSites. All were provided with basic information about the horticultural requirements necessary to sustain a bonsai no matter how "sculptural" their interpretation of a container might be. The website allowed the ceramic artists to select from a large group of trees trained in various styles, the one that most sparked their imagination. They would need to envision a place within the realm of their artwork for a living organism, and to create a piece that would both visually and practically accommodate a miniature tree. Images of the ceramists' work were also on view for the bonsai artists' perusal.
     Once completed, the ceramic containers were handed over to the bonsai artists, the owners of the selected trees. To complete the collaborative vision, the bonsai artists were required to evaluate the sculptural spaces presented for their trees. The decisions they made on the final styling, positioning and potting of their bonsai realized the full potential of the collaboration.
     My hope is that this exhibition will reaffirm the historic connections between bonsai and the ceramic arts. With the numerous, talented ceramic artists producing in the United States alone today, and the many regional bonsai organizations, closer ties could be forged. If these two constituencies each took the time to educate one another about their disciplines, many more options could become available to bonsai enthusiasts as well as new outlets for clay artists for creative ceramic design. A most positive step along these very lines was made last year when the National Bonsai Foundation of the U.S.National Arboretum in Washington, D.C. held the first North American Bonsai Pot Competition. The competition encouraged both traditional as well as non-traditional entries, with prizes awarded in both categories. Such farsighted and creative undertakings will keep this ancient art form alive. And in doing so, open new possibilities, new ways of seeing. I trust that through the skill and imagination of the diverse and talented group of artists represented here in Bonsai inSites, fresh perspectives for ceramics will be gained along with new insights into the art of bonsai.
     I wish to sincerely thank Deborah Bedwell, Executive Director of Baltimore Clayworks for the invitation to curate this project and for all her support throughout. And special thanks to Leigh Taylor Mickelson, Program Director, for her tireless coordination of a logistically demanding exhibition. And thank you, Sharon Edwards-Russell for designing and managing the Bonsai inSites website that made coordination among the artists possible. And to Potomac Bonsai Association President, Chuck Croft, thanks on many levels. You were the first to embrace and sponsor this unusual project, to offer me wonderful trees and mentorship throughout. I am delighted that the U.S. National Arboretum was willing to co-sponsor the project and to host the Bonsai inSites exhibition in the Special Exhibits Wing of the National Bonsai and Penjing Museum. I would like to give my appreciation to Dr. Tom Elias the Director of the Arboretum for making this possible and for his thoughtful critique of my concept. Many thanks to the Arboretum's Head of Education and Visitor's Services, Nancy Luria, and for the help and guidance of the National Bonsai Foundation¹s president Felix Laughlin and Executive Director, Johann Klodzen. Lastly I wish to express my sincere gratitude to the talented Bonsai and Ceramic artists who were willing to "conspire" with me on this project. This is a Conspiracy in the sense that Italian bonsai artist Salvatore Liporace uses the term. Conspire, this often misunderstood word, derives from the Latin 'cum''and 'spire' to "breathe with" or "breathe together." Conspiracy can be a breath of fresh air!

Ron Lang, Exhibit Curator