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[IBC] Pacific Rim Bonsai Collection Call to Artists
Hi Jim. You noted,
... as Andy noted to me -- offlist -- the extent to which bonsai is an art is... so, at least partially, because the tree/pot/stand/etc... harmonize for a cohesive (single) image. This business of working to make one of those elements conspicuous only occurs at the expense of the overall display... In other words, making any part of the composition conspicuous makes, by definition, the "composition" fall apart and become a ridiculous mess. I wonder about the the notion "conspicuous," Jim? While a distracting ("conspicuous" application #1) element in a composition including bonsai by definition makes "the composition fall apart," it is not accurate that a visually dominant ("conspicuous" application #2) element makes a display composition fall apart. Working to choose or make an element more (or sometimes less) visually dominant, if it is intended, does not occur at expense of the overall display. Japanese-style display including bonsai arrays objects such that some are clearly dominant. An exhibit without conspicuous, dominant elements would be lack feeling and expression. Companion objects are "companions" because they support more visually dominant elements in display. The choice of visual dominance is balanced by both objects chosen and their relative placement in the composition to create harmony. Harmony in an exhibit is dependent on elements not being distracting. Glaring distractions are often the misplacement or poor choice of relatively inconspicuous elements, and these can make the composition inadequate (or a "ridiculous mess," if you prefer). Bonsai doesn't have to be the focus of a contemporary display & the Weyerhauser competition allows, but doesn't require, that the bonsai bow to other objects of art including its own support or framing. If we were to chart a continuum of sophistication in utilizing display space, lining bonsai (or suiseki) along a table with no stands would be at the lower end of the range. Sticking a board under each would be a modest improvement. Putting them each atop footed stands of varying height and varying their depth of placement as well as careful varying their horizontal distribution would be a large improvement. Somewhere among these early choices, recognizing and utilizing the eye movement and eye speed would add utility to reading the exhibit rythmicly. Adding companion objects that expressed seasonality, added emotional appeal or spoke directly to an invited guest would strengthen the display. Placing the companion objects & their supports with undertstanding of use of space in terms of dominance & avoiding distraction would be another large leap. Further sophistication arises from recognizing continuing conventions regarding the use of space & understanding exceptions to conventions that are still resounding. Contemporary display will deconstruct the conventional model and re-build "exhibition space" with elements or concepts of space that may or may not utilize the same conventions. The Weyerhauser examples are very instructive, but not as exciting as they could be. So much the better for the competition to improve upon them. For example, the stick figure sculpture (including a striding figure colored white) might just as well be holding a pot of geraniums or a beach ball in terms of visual impact. The bonsai seems an afterthought like the companion plants in some poorly composed traditional exhibits. It is an exhuberant display which neutralizes bonsai as just another object rather than an elevated one. Perhaps that is the point. The bonsai is well displayed against a plain background without distraction & fails to capture the viewers first glance. It is a different neutralization than we see in bonsai placed in front of complex backgrounds or with lighting that causes distracting shadows. The fellow using a rectangular black-lacquered board, a set of two rectangular black-lacquered boards and a suhama-shaped, naturally-contoured & naturally-finished slab as stands breaks many conventions & his overall scene is chaotic, to me. Maybe chaos or at least ambiguity regarding dominance and perspectives (e.g. depth of the scene conflicting in different stand placements) was his point. Bonsai logo designers & webmasters dabble in contemporary bonsai display in images. The National Bonsai Foundation homepage image (image of tips of wired bonsai limbs) are strong in limiting the full view of a bonsai. No doubt peek-a-boo display has its place & could be very imaginative-- though perhaps as effervescent as the same trend in women's dresses. What would you choose to show, and what would you hide, artfully? Few USA bonsai & suiseki exhibits artfully apply Japanese display conventions. There is much to gain in conventional display & contemporary options. The Japanese explore contempory options, as well-- even the leaders of traditional format such as Uraku Sudo include non-traditional display formats among their published materials. Best wishes, Chris... C. Cochrane, , Richmond VA USA ************************************************** ****************************** ++++Sponsored, in part, by Ken Rutledge++++ ************************************************** ****************************** -- The IBC HOME PAGE & FAQ: http://www.internetbonsaiclub.org/ -- +++++ Questions? Help? e-mail +++++ |
#3
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[IBC] Pacific Rim Bonsai Collection Call to Artists
Hi Jim. You noted,
... as Andy noted to me -- offlist -- the extent to which bonsai is an art is... so, at least partially, because the tree/pot/stand/etc... harmonize for a cohesive (single) image. This business of working to make one of those elements conspicuous only occurs at the expense of the overall display... In other words, making any part of the composition conspicuous makes, by definition, the "composition" fall apart and become a ridiculous mess. I wonder about the the notion "conspicuous," Jim? While a distracting ("conspicuous" application #1) element in a composition including bonsai by definition makes "the composition fall apart," it is not accurate that a visually dominant ("conspicuous" application #2) element makes a display composition fall apart. Working to choose or make an element more (or sometimes less) visually dominant, if it is intended, does not occur at expense of the overall display. Japanese-style display including bonsai arrays objects such that some are clearly dominant. An exhibit without conspicuous, dominant elements would be lack feeling and expression. Companion objects are "companions" because they support more visually dominant elements in display. The choice of visual dominance is balanced by both objects chosen and their relative placement in the composition to create harmony. Harmony in an exhibit is dependent on elements not being distracting. Glaring distractions are often the misplacement or poor choice of relatively inconspicuous elements, and these can make the composition inadequate (or a "ridiculous mess," if you prefer). Bonsai doesn't have to be the focus of a contemporary display & the Weyerhauser competition allows, but doesn't require, that the bonsai bow to other objects of art including its own support or framing. If we were to chart a continuum of sophistication in utilizing display space, lining bonsai (or suiseki) along a table with no stands would be at the lower end of the range. Sticking a board under each would be a modest improvement. Putting them each atop footed stands of varying height and varying their depth of placement as well as careful varying their horizontal distribution would be a large improvement. Somewhere among these early choices, recognizing and utilizing the eye movement and eye speed would add utility to reading the exhibit rythmicly. Adding companion objects that expressed seasonality, added emotional appeal or spoke directly to an invited guest would strengthen the display. Placing the companion objects & their supports with undertstanding of use of space in terms of dominance & avoiding distraction would be another large leap. Further sophistication arises from recognizing continuing conventions regarding the use of space & understanding exceptions to conventions that are still resounding. Contemporary display will deconstruct the conventional model and re-build "exhibition space" with elements or concepts of space that may or may not utilize the same conventions. The Weyerhauser examples are very instructive, but not as exciting as they could be. So much the better for the competition to improve upon them. For example, the stick figure sculpture (including a striding figure colored white) might just as well be holding a pot of geraniums or a beach ball in terms of visual impact. The bonsai seems an afterthought like the companion plants in some poorly composed traditional exhibits. It is an exhuberant display which neutralizes bonsai as just another object rather than an elevated one. Perhaps that is the point. The bonsai is well displayed against a plain background without distraction & fails to capture the viewers first glance. It is a different neutralization than we see in bonsai placed in front of complex backgrounds or with lighting that causes distracting shadows. The fellow using a rectangular black-lacquered board, a set of two rectangular black-lacquered boards and a suhama-shaped, naturally-contoured & naturally-finished slab as stands breaks many conventions & his overall scene is chaotic, to me. Maybe chaos or at least ambiguity regarding dominance and perspectives (e.g. depth of the scene conflicting in different stand placements) was his point. Bonsai logo designers & webmasters dabble in contemporary bonsai display in images. The National Bonsai Foundation homepage image (image of tips of wired bonsai limbs) are strong in limiting the full view of a bonsai. No doubt peek-a-boo display has its place & could be very imaginative-- though perhaps as effervescent as the same trend in women's dresses. What would you choose to show, and what would you hide, artfully? Few USA bonsai & suiseki exhibits artfully apply Japanese display conventions. There is much to gain in conventional display & contemporary options. The Japanese explore contempory options, as well-- even the leaders of traditional format such as Uraku Sudo include non-traditional display formats among their published materials. Best wishes, Chris... C. Cochrane, , Richmond VA USA ************************************************** ****************************** ++++Sponsored, in part, by Ken Rutledge++++ ************************************************** ****************************** -- The IBC HOME PAGE & FAQ: http://www.internetbonsaiclub.org/ -- +++++ Questions? Help? e-mail +++++ |
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