�leen ᶠᶠᶠᶙᶤᶠᶠᶠᶠ ᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠ
ᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠᶠ
ʕʕɪʔʔʔʔʔʔʔʔʔʔʔʔʔ
ʔʔʔʔʔʔʔʔʔʔʔʔʔʔʔʔʔʔʔʔʔʔʔʔʔʔʔʔʔʔʔʔ
Cena 112 වසි සා සැදේ puisse благодарජKEN
පැථි්මඩෙ ට්඼න් �ли�功, 6 ෎සිර්න් මැටින්畏රවු
ᗋමෝමට්න්ට් ඈතිනජ මන්ච්නවන් enjoyscases්ල්මට්මට
මස්න්න්ක්මස්මට මම acron�් aනාity
ᗚᗼᗼᗼᗼᗼᗼᗼᗼᗼᗼᗼᗼᗼᗼᗼᗼᗼᗼᗼᗼᗼᗼᗼᗼᗼᗼᗼᗼᗼᗼᗼᗼᗼᗼᗼᗼᗼᗼᗼᗼ, ᗅᗰᗰᗼᗼᗼᗼᗼᗼᗼ, ᗪᗜᗪᗼᗼᗼᗼᗼ, ᗯᗰᗼᗼᗼᗼᗼᗼ, ᗵᗰᗼᗼᗼᗼ
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It was definitely through touring Bonsai Marayan talking with Ryan about what he was trying to do with Bonsai that I started to realize there was more potential, really a limitless potential, that there were all sorts of boundaries that could be pushed or completely demolished within this historically grounded art form, but definitely one that is not tied or bound by that history.
Over the years in talking to a lot of Northwest artists and writers, the thing they seem to agree on that ties or separates the people who make art here in the Pacific Northwest is our relationship and close proximity to nature, and all that that entails the beauty of the solitude as well as the danger and the risk and the pull of humankind and nature, basically the thumbprint that we are leaving on the natural world around us.
Try to get a sense of the scale of the tree that you're going to have.
The title is a painful exploration of truly understanding why I'm doing what I'm doing. What am I actually trying to accomplish with Bonsai and using Bonsai to represent the American landscape and American culture, something uniquely Japanese.
I don't want to be appropriating an art form, yet I look at the way that the Japanese took pinging from China and then manipulated it into Bonsai, and it was the impact of culture and the environment that shifted the way they practiced pinging when it came to Japan from China.
Now, in the United States, I don't see the Japanese landscape, so when I have these trees that are a product of the landscape throughout North America, the only way that I do justice to those is by applying culture and reflections of the environment.
And that's all I know, and naturally that has become something different than Japanese Bonsai.
I think what separates Ryan Neal's work is that he's working not only at a larger scale, but he's also elevating the art form itself by challenging the art form itself.
By challenging himself to display in uncommon places for the industry such as an art gallery, a museum, he'll go into the Japanese garden and create this large scale exhibit specifically for them.
So he's definitely different in that way that he's literally challenging the form, the scale, and also the display and application of the trees compared to traditional Bonsai practitioners who, in my opinion, kind of work more in a cottage industry type of world.
But this Janet McGregor, one amazing journalist, Vancouver, Washington, she's amazing, so tight.
I'm stoked that we have these because it opens the door to do a really, really wonderful project. Now it's headed back the other way. We've never had to achieve this kind of precision before.
We're functioning on 132 inch increments for this exhibition, which doesn't even occur on a normal tape measure. So every one of these panels, we don't have any extras, which means if we screw one up, we don't have the ability to fix it.
And our margin for error is 132 of an inch. Scary. Super scary.
I would definitely say that sculpture is one to one for Ryan's art form. A tree will have a different feeling and execution as you walk around it. So it really merits a physical experience.
Spectrum is a show that opens up a lot of opportunity to be a little bit more playful and creative. We really played with color in this concrete space to try and bring a lot of warmth and a lot of life to it.
And then played with color in terms of the trees that we're presenting to show yet another facet of how you can contextually represent Bonsai and use it to not only discuss culture and nature, but also to start discussing its ability to contribute to art in the vast amount of ways that Bonsai can interact with art and design to be yet another creative space to explore even fundamental design concepts such as color.
Ryan's work very much is an example of a contemporary design culture combined with some modernist and very contemporary architectural and design elements in the stands and the giant frames that he's built for these trees are the way that he's chosen to showcase them.
He's very much combining kind of what we see as the pinnacle of engaging and interesting design architecture art here, particularly in the Pacific Northwest with some very centuries old ideas of competition and art when it comes to traditional Bonsai.
And he's marrying the two on top of the tree itself to create something new.
There's something about working with nature in a more full way. That might actually be the best parallel to at least our work in architecture.
We believe that for far too long the world's development has been at the expense of nature and we're at an intersection now where we really need to work with nature and bring nature back in as a sort of partner in everything we do.
There's almost no more important meaning you could bring to your community, I guess, than demonstrating that because it's a paradigm shift about how our culture views the world.
Bonsai in general is a huge tool to reconnect ourselves to the natural environment. Bonsai takes that macro level and brings it down to a micro level where you actually are physically responsible for sustaining nature.
But that's just a metaphor for our duty as stewards of this planet to continue to care for and preserve these natural spaces that really form who we are as individuals and as a culture.
To sit and contemplate this living thing that is most likely older than all of us and to really contemplate our relationship to them as well as the solitude and the peace and the beauty that the natural world can offer.
I mean it's really framing a piece of nature in an inside setting and that to me makes it really exciting artwork because it asks us to think about our place in the world and it invites this contemplation of the natural world that I think is, I would say, I guess I would say necessary at this point.
Bonsai in general is a huge tool to reconnect ourselves to the natural environment.
Bonsai in general is a huge tool to reconnect ourselves to the natural world that I think is, I would say necessary at this point.
Bonsai in general is a huge tool to reconnect ourselves to the natural world that I think is, I would say necessary at this point.
Bonsai in general is a huge tool to reconnect ourselves to the natural world that I think is, I would say necessary at this point.
Bonsai in general is a huge tool to reconnect ourselves to the natural world that I think is, I would say necessary at this point.
