BSF CONVENTION BRINGS EXCITEMENT TO MEMORIAL DAY WEEKEND The 2019 BSF Convention website (BSFCONVENTION.COM) is online. In it you will find all aspects of the BSF Convention in one place. The main menu items will take you to sub menus with even more information. The “Programs” heading has a dropdown menu with pages for Workshop, Exhibit, Club night, and Scholarship competition. The aforementioned “Workshop” page will provide detailed information on each workshop including species information, instructor, work shop cost and pictures of the material. The “Exhibit” page will give you the information needed to submit in an application along with the link for the Exhibit Application Form which you can submit beginning February 15th. The “Club Night” and “Scholarship” competition pages also provide valuable information on these events.
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BSF President’s Message – Ronn Miller
The year rushed in with a bang in the Florida bonsai world. There have been many activities going on in the BSF. The two new clubs, Emblem and Literati Grove have had many functions. Many other events took place with all clubs including Lighthouse and Sho Fu reflecting well on the bonsai scene in Florida. Please look at the BSF website for information about the future events and how you can participate. Also, you are encouraged to send your events to the BSF webmaster, Jorge Nazario so he can publicize them on the BSF website. I want to thank everyone who came to the Jan 12th BSF board meeting at the Florida Hotel. We had a very productive meeting covering any important BSF topics. We did have a “quorum” defined as one half of the elected officers, plus one, so we were able to pass several motions. We also had several non-board BSF members from clubs in attendance. It is encouraged that general BSF members attend at least one of our two annual meetings. This year at the BSF board meeting at the convention, we will be electing some new board positions. Two-year terms for all these positions are expiring and the nominating committee, headed by past president Michel Knowlton, will soon be convening to put forward a slate of nominees for the various positions, first subject to approval by the full board of BSF and then to be submitted for approval by affiliated Florida Bonsai Societies and Study Groups with the results being announced at the upcoming annual meeting in Orlando. The convention web site, which is beautiful, is up for viewing but not “open” until 2 March. Jorge Nazario has developed a procedure that has passed all the tests that we can give it. Just remember, if you have any problems registering, please let me know right away. BSFCONVENTION.COM This year is going to be a great show with stellar headline artists Pedro Morales and Ted Matson. Jorge Nazario, the chairman of this year’s convention, has put together great workshop and demonstration material. We would like to have many clubs participate in “club night” this year. It is one of the most enjoyable events of the convention. It gives everyone a chance to participate in the activities. Please contact 1st VP Reggie Perdue, email address: DrLRperdue@aol.com if your club would like to participate in club night. Jorge has suggested a new method of the auctioning of Demo material. Instead of all the demo trees being auctioned at the banquet on Sunday night, we are going to do a silent auction all day Saturday for the Friday demo trees, and the Saturday demo trees will be auctioned on Club Night with the club night trees. This idea came from suggestions by the surveys that we sent out after last year’s convention. It also gives everyone who isn’t going to be at the banquet a chance to bid on a tree that they might want. I would like to say that I appreciate all the extra efforts to encourage the art of bonsai in Florida. There seems to me that there is so much activity with shows, sales, demonstrations etc. going on like I haven’t seen before. Thank you to the BSF board members and to all clubs for your enthusiasm.
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BSF is looking to the future and it is bright. We invite you to be part of the excitement. BSF is raising funds for the future. Any donation you can make can help and would be appreciated. For more information Contact Ronn Miller,
BSF Magazine Editor’s Note:
Saimir Ogranaja about “American Bonsai.” A somewhat provocative topic the article it provides lots to ponder. It features a short segment from your intrepid editor. And let me remind you that ABS is the only national bonsai organization and worth supporting. Everyone should be a member of BSF and ABS. I hope you enjoy these feature articles and the rest of the material in the magazine. And speaking of magazine, we have changed the format of the electronic issue from” blog-style” to electronic magazine. The BSF team thinks this will give the magazine more gravitas and add value to BSF’s membership.
We are rapidly approaching my favorite time of the year. The days are getting longer, and the trees are budding out. I have Florida Elms and Chinese Elms fully of leaves, even my Hackberries and Bald Cypress are pushing leaves. Just as the new growth appears in our trees, there are some new ideas to be found in this issue. Tom Kehoe, Curator of the Jim Smith Bonsai Collection at the Heathcoat Botanical Garden, shares some very important information about pathogens that can affect Willow Leaf Fig. Since probably everyone in Florida has one or more of these species in their collection, it is worth paying careful attention to the scientific work Tom has overseen. The American Bonsai Society was gracious enough to allow BSF to publish an article written by
As always, the magazine would enjoy content from BSF members. Please send any ideas for articles, or finished articles, photos or illustrations to the editor. We have so many great trees in Florida so especially please send me nice photos of your trees Keep on growing!
BSF Board Members President 1st Vice-President 2nd Vice-President Treasurer Secretary Trustees District 1 District 2 District 3 District 4 District 5 District 6 District 7 District 8
Ronn Miller Reggie Perdue Rob Kempinski Barbara Poglitsch Sandy Racinski Rosemarie Voelker Joe Stumpf Dave VanBuskirk Mark Ceskavich Sally Margreither Rita Rosenberg Kay Karioth Bob Wertz
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Table of Contents Willow Leaf Fig Important New Developments Tom Kehoe Bonsai in America or American Bonsai? Saimir Ogranaja BSF Interviews Robert Pinder, Dragon Tree Bonsai Early Days of BSF at EPCOT Ed Trout Collecting Bald Cypress Rob Kempinski Florida Bonsai Gallery A Jewel in Fort Pierce - James J Smith Bonsai Collection Dr Reggie Perdue Winter Shaping Rob Kempinski Rose Marie Voelker’s Photographs
page 6 page 9 page 20 page 23 page25 page 27 page 31 page 35 page 37
BSF Statement of Purpose The Bonsai Societies of Florida (BSF) is a 501(c) 3 tax-exempt educational organization providing supportive services and activities to encourage and promote the traditional art of bonsai throughout the state, as well as neighboring states in the Southeastern section of the United States BSF conducts an annual CONVENTION full of interesting events for Florida bonsai growers. We sponsor a VISITING SPEAKERS PROGRAM to bring Bonsai artists from around the country, as well as other parts of the world, to Florida to visit clubs and put on workshops and demonstrations. We sponsor SCHOLARSHIPS awarded each year the at the ‘Club Night’ competition to worthy artists to encourage the continuation of their education in the art of bonsai, and impart that information back to their clubs and the umbrella organization. We have EDUCATIONAL PROGRAMS to develop programs focusing on the needs of various groups of individuals throughout the state, such as encouraging the interests of youth and people having disabilities, in the art of bonsai. BSF supports PERMANENT BONSAI COLLECTIONS in Florida, and is currently creating a donation program to make such collections available throughout the state. We have statewide REPRESENTATION: A trustee, chosen from local clubs, represents each of the eight BSF districts. These trustees are available to attend club meetings, aid requested by local clubs, and act as a ‘grass roots’ liaison with BSF. The trustees, and your elected officers, serve as an open line of communication between the clubs and BSF. Call upon them for assistance! Share your concerns with them, as well as any problems you may face. The trustees and officers are all listed in the BSF 5 directory online. We PUBLISH Florida Bonsai is published four times each year by BSF. It features current bonsai articles, as well as sources of bonsai-related materials available for sale. BSF also has a WEBSITE (www.bonsai-bsf.com) providing new, exciting and educational opportunities and information on BSF happenings.
Willow Leaf Fig Important New Developments Tom Kehoe Curator James J. Smith Bonsai Gallery Heathcote Botanical Garden
The Willow Leaf (Ficus Salicaira) in happier times. A masterpiece grown from a cutting by the late Jim Smith.
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We had repotted the lovely twin-trunk Ficus. Salicaria six weeks before. It looked fine but showed no sign of leafing out. We had been repotting dozens of trees at the James J. Smith Bonsai Gallery because so many were in danger of bursting their pots. It was closing time, but now that I focused on the tree, I was worried. ed. When I looked closer, I saw tiny holes in the bark on its front. My heart sank. I poked at the bark: It crunched inward. I grabbed a small tool and began probing. The cambium was destroyed underneath the bark. The stench of decay rose. Thousands of beetles and worms wriggled under the bark.
Salicaria, the most common species) suffering from borer damage. “Borer” is a generic name for insects that tunnel through the cambium of a tree. There is a wide range of boring insects, from the minute powder-post beetles to the enormous ficus borer. The typical damage we’ve seen is from a tiny grub about 1 mm in length, that up until now has evaded identification. The problem predated the trees’ arrival at Heathcote – Jim Smith had struggled with borers and other diseases for years. In fact, twice before, I had seen an F. Salicaria eaten up this way at Jim’s nursery – and both times after repotting. Jim was philosophical about it. When you’ve grown hundreds of bonsai I suppose you expect to lose a few. But he also was candid about not knowing exactly what had occurred. When I discovered the decomposed tree, Diane Kimes, executive director at Heathcote Botanical Gardens which hosts the bonsai gallery, placed an urgent call to Dr. Joseph Pat, a USDA entomologist who has been conducting research at Heathcote. Dr. Pat asked that we gather samples of the varied critters on the tree and preserve them in alcohol. Dr. Pat examined the specimens under a microscope, and found a virtual zoo of critters. The wriggling worms which looked so horrendous were maggots and essentially irrelevant.
The tree after discovering the major problem. Some of the branches were still alive, but the trunk was destroyed, and the tree was a goner. What happened? Could borers even cause this kind of damage in a few short weeks? That question prompted months of research and consultation with experts from UF and the Department of Agriculture, and identification of multiple pathogens and predators that afflict bonsai. It wasn’t the first time we’ve had a problem with diseases in the gallery. We’ve had a long-running problem with trees in the exhibit (particularly with F.
There were two different grubs identified with wood boring, but Dr. Pat focused on an oddlooking beetle. He identified it (and later had it confirmed) as an Ambrosia Ambrosia beetle up close – nasty Beetle. Ambrosia looking critter ready to wreak havoc. Beetles have a unique, and terribly destructive life cycle. The adult beetle bores into the heartwood, where it lays eggs. It then chews through the cambium leaving tunnels in its wake. But what makes the beetle unique is that it has a symbiotic relationship with a fungus that destroys cambium. 7
When the beetle carves tunnels through the wood, it introduces the fungus, which multiplies, liquefying the cambium. When the eggs hatch, the larvae feed on the fungus and other wood-eating insects are drawn to the odor created by decay. But attacks by Ambrosia beetles usually cause localized damage. And there are numerous trees in the Smith collection that show signs of damage that was healed long ago. So why did this attack prove fatal? An important clue came several days later. Dr. Pat visited the bonsai gallery and personally inspected the rotting carcass. The tree had been sealed in a heavy-duty plastic garbage bag. The stench was horrible. In examining the carcass, we
slows the rate of development of the fungus, and gives the tree a chance to recover. The fungus essentially goes dormant until the tree is stressed and it starts multiplying again. So our working theory is that the reason that the tree was overrun by pests so quickly was that it was simultaneously attacked by multiple pathogens, some of which were likely resident in the tree. The trigger was repotting. Repotting an old F. Salicaria means removing all of its roots and leaves, along with any extraneous branches. It’s hard to imagine any event that would “stress” a tree more than that.
Trees have their own defense mechanisms. When a tree suffers an injury like the removal of a limb, it emits a kind of alcohol. Bugs are heavily dependant on chemical “Our protocol is now to treat all trees a week cues to locate food, and the before repotting, both with a systemic insecticide alcohol deter bugs from attacking the vulnerable tree. and a systemic fungicide,” Tom Kehoe But for Ambrosia Beetles, the noted an orange fungal growth. I collected, tagged alcohol is like ringing a dinner bell. They home-in on and double-bagged samples and shipped them off to it and attack in force. And when both the roots and Nina Shiskoff, a fungus expert at USDA headquarters the leaves have been removed, there’s very little you in Maryland. Nina also has an interest in bonsai and can do to counter the infestation. was happy to tackle our mystery. After culturing the samples and she quickly came up with an answer: Our protocol is now to treat all trees a week before Lasiodiplodia Theobromae. repotting, both with a systemic insecticide and a systemic fungicide. For insecticide, we treat the Lasiodiplodia Theobromae is a fungal pathogen with foliage with Safari and the roots with Marathon, a worldwide distribution and a very wide range of both noenicitinoids. For fungus we spray the leaves hosts. It can cause galls, stem cankers and rotting in and trunk with Subdue Max. Although it is not ficus and other trees; stem-end rot in citrus fruits; labeled for it, Subdue seems to knock out many of bot canker in grape vines; and has been implicated in the fungal diseases that afflict bonsai. These are the widespread deaths of baobabs in Africa. It can professional products and can be toxic to people, so even infect the mucus membranes, eyes and nail proper precautions should be taken when applying beds of folks working with infected plant material. them. Numerous F. Salicaria in the Smith Gallery have cankers, witches brooms and galls consistent with Lasiodiplodia Theobromae infection (although they could be caused by separate diseases as well), but they are in good health otherwise. This is likely because of the odd life cycle of fungi and the way that fungicides work. It appears fungal infections are essentially permanent. The use of fungicides simply
We’re also working with the USDA to get a sample of Cidely Top, a new fungicide for Lasiodiplodia Theobromae that is not currently available in the U.S. In a study published overseas, scientists claimed that mango trees treated with Cidely Top bounced back and put out substantial amounts of new growth within four weeks, an extremely rapid recovery. 8
Bonsai in America or American Bonsai? By: Saimir Ogranaja (reprinted courtesy of American Bonsai Society)
American Bonsai? American bonsai is a notion that has been around for quite a while. Some call it a marketing gimmick, others call it non- existent and most say they are not even clear what it is. Florida’s Saimir Ogranaja interviewed some of the most recognized artists of our day to shepherd the reader to gain a deeper understanding of the topic. To start, when I spoke with Ryan Neil, proprietor of Bonsai Mirai, about American bonsai, he closed with a few questions that struck me as more appropriate for opening ruminations. “What does it mean to embody freedom in a creative pursuit and still respect the quality that needs to be generated? What does it mean to think abstractly, to represent a concept, to include elements of culture, nature, and individual to maximize the ability for the tree to communicate that to the viewer?” Closing questions for Ryan, but perhaps a great point of departure for this article that pose even more topics to think about and discuss openly. Could it be that American bonsai is about embracing freedom from bonsai “rules” of the past? Or is American bonsai about using local material? Or is any bonsai in America, American bonsai? Too many questions? With that last one but no more. Come with me fellow students and let’s explore several prominent American and one German bonsai artist’s view on the concept of American Bonsai. The author’s work is in regular print and the contributors’ contributions are shown in italics for clarity. Bill Valavanis October in Washington, DC: The National Bonsai Hall Bill Valavanis’s full-moon maple, of Fame was established by the National Bonsai & Penjing Museum in 2014, to Acer japonica. Photo by Joe Noga identify and honor those individuals that have achieved excellence in the art of bonsai as well as contributed to its advancement in the United States. The first inductee was John Naka, one of the founding Fathers of bonsai in America. In 2015, the 2nd inductee was Yuji Yoshimura, highly regarded teacher, also considered another American bonsai pioneer. The only other inductee into the National Bonsai Hall of Fame, is William Valavanis, a man who has spent over 55 years promoting and teaching bonsai internationally, through his longstanding magazine, International Bonsai, and through his biennial National Bonsai 9
Exhibition established in 2008. Bill wrote: “There are several different types of bonsai art, mostly depending on the area of the world. However, there are two main approaches to bonsai, naturalistic and artistic, and both are valid with practitioners around the globe. Naturalistic bonsai attempt to depict trees, or a scene as literally viewed, while artistic bonsai, especially in the classical form, show an idealized tree or scene as conceptualized by the artist, which is often not naturalistic. Bonsai are commonly known as penjing, penzai, hon no bo and bunjae around the world, and there are also more names. The artistic training and quality of bonsai varies considerably throughout the world and even in different regions within countries. Simply defined, all bonsai are plants in pots. Horticulturally, an ancient masterpiece bonsai in an antique Chinese container is indistinguishable from a simple Chrysanthemum growing in a plastic pot. They all require light, water, air and food and can be appreciated for different purposes such as artistic forms, flowers, fruit, foliage, religious or medicinal. Native collected plant material has been used by bonsai artists in the United States for decades. One of the first pioneers, Dan Robinson, concentrated on bringing out the beauty and antiquity of collected trees. Dan’s efforts are now considered common practice for collected native specimens in the United States as well as in other parts of the world. This is not unique to the United States, but a logical progression of the art of bonsai. Often drawing their inspiration from nature using native collected specimens, and with a limited background on what others around the world are creating, some incorrectly refer to their art as “American Bonsai,” however they are simply ‘Bonsai in America.’”
Arthur Joura October in Asheville: I don’t remember the first class I attended that was taught by Arthur Joura, curator of the bonsai collection at the NC Arboretum in Asheville, NC. Over the years, I would eventually come to sit in about 8 or so of Arthur’s lectures/demos, during which he would often use slideshows with numerous pictures of particularly distinguished trees and gnarly, weather-beaten limbs that he took on his many hikes around Asheville. The sometimes warm and usually mystical locals live in an area widely known for its expansive, Hallmark® worthy, picturesque settings. During those first couple of weeks in October, Asheville draws innumerable strangers who travel long distances for an annual staycation with the sole intent to get deeper in touch with nature and the magnificent, Fall colors of the local flora. This group planting "Graveyard Fields”. of Acer rubrum, Japanese hornbeam, dryland blueberry, a viburnum and a spirea. It takes its inspiration from the Blue Ridge Mountains of western North Carolina. Photo by Arthur Joura.
Arthur tries hard to capitalize on this short10
lived, human migration by holding the Carolina Bonsai Expo at the same time. The Carolina Bonsai Expo is an exhibition purposely infused with the spirit of promoting unique display concepts (one year a display with all rotating trees and another year a display with no pots, just miniature trees) and naturally styled, American species (one year a bald cypress was shown completely potted in water, with a goldfish swimming around). Arthur Joura’s views of American bonsai take one further on a continuum: “American bonsai not only exists, it has existed for more than half a century now. It began with men named Yoshimura, Naka, and Suburomaru, and in the beginning it was completely imitative of its primary source, like a young child copying a parent. But as time went by, the names of the leaders changed, and the idea began to change as well, as more native influences took effect. Back in the 1970’s a pioneering figure in American Bonsai, Vaughn Banting of Louisiana, was responsible for a watershed development. Banting was fond of a tree native to his part of the world – bald cypress. He might not have been the first to discover that bald cypress is a species that works well as bonsai material, but he was apparently the first to notice that bald cypress as a mature tree in nature often assumes a shape not represented by any of the classical Japanese bonsai forms. In response, he developed some young bald cypress into what became known as the “Flat-top Style”, which did not previously exist in American bonsai. Consider what he did: 1) utilized a plant native to the south- eastern United States; 2) observed the natural form of that species in its native environment and 3) successfully interpreted that form in the bonsai medium. So – we have an American, working with American plant material, representing a feature of the American landscape. How can this be anything other than American bonsai? Two of Vaughn Banting’s flat-top specimens are now part of public American bonsai collections – one at the National Bonsai and Penjing Museum in Washington, DC, and the other at the Pacific Bonsai Museum in Federal Way, WA. That same Pacific Bonsai Museum has now hosted a comprehensive “Natives” exhibit, featuring species all native to North America. Such an exhibit would have been extremely unlikely back in Banting’s day, or with such a high level of skill and refinement. That is impressive testimony as to how far American bonsai has progressed.”
Walter Pall Saturday, October 11th, 2011 at 9 AM: On that morning, Asheville residents were greeted with strange sounds, a fanfare on the ground and the Blue Angels flying over the NC Arboretum in diamond formation to celebrate the opening moments of the 16th Carolina Bonsai Expo. Not really, but a mere 12 hours earlier, that Friday night, Arthur Joura had arranged for a private celebration of the gratitude variety. On that night, as he does every year, he took the time to thank the visiting artists as well as the club folks without whose labor, the Expo would not be possible. The bonsai Gods smiled gracefully on my existence that year and snuck my name on that list. On my arrival that evening, I noticed a humble but beautiful, dark grey Mercedes E class wagon under the parking lot lights. I quipped to myself “Oh good. Walter Pall is already here”, and he was. The bonsai community is a relatively small community, even on a global scale and Walter Pall is known for his long experience in “naturalistic” bonsai. His renegade thoughts, unrestrained words, and 11
classically direct manner provide an interesting, Northern European view on American bonsai: Walter Pall says, “Usually much to my own surprise, when I post some of my creations instead of praise sometimes I get harsh criticism for being so different. A well-known person in Europe, seriously thought a couple of years ago that my creations should be named “Pallsai“ to make sure that this was clearly different from “Bonsai“. It was not meant to be well meaning, but I was amused. I thought it would be great if a version of an art form were called that centuries after I am dead. Well, it did not happen. The world calls it “Naturalistic Bonsai Style“ and “Fairy Tale Bonsai Style“, fine with me. Now if someone wants to make sure that he speaks about the Japanese traditional way of doing bonsai he should call it “Japanese bonsai.” But then, one should be aware that there is no such thing as uniform Japanese bonsai. The world is changing in Japan too. What once was considered great, now is old fashioned and when once most did nearly the same, diversity is getting to be the game in Japan as well as in the rest of the world. Most sure try to do bonsai “right” in Europe, very much like in America. They are trying to follow rules. They think they are doing Japanese bonsai in Europe. But the trend is for much more diversity now and much more freedom. What was “forbidden” up until recently now is fine for many. To be different than the rest is becoming a trend. The fundamentalists in Europe hate this just as they do in America. But they are getting to be fewer and the mavericks are getting to be more.” In this statement is Walter suggesting that American Bonsai is an attempt just to be different? “If, in America, some feel a need for “American Bonsai” in Europe this would be “Italian” or “French” because there is not re- ally much of a feeling of being European. The internet makes us one world and a new trend is moving around everywhere quickly. After Classical Bonsai came Modern Bonsai. I think we can call this new world of bonsai Post-Modern Bonsai to differentiate it from what was before. As in the real art world, also in bonsai, there is much more diversity and styles and trends are running in parallel and not in succession anymore. The cycles in art used to take decades if not even centuries in the old days. Now the cycles can be measured in months.”
Walter Pall’s European spruce, Picea abies, originally collected in Switzerland in 2000. Photo by Walter Pall.1
“...be aware there is no such thing as uniform Japanese bonsai – Walter Pall Bjorn Bjorholm August in Fort Myers: I was on YouTube, hedonistically spending an obscene amount of time indulging in a new obsession of mine, researching what the bonsai professionals are doing online and I streamed Bjorn’s video of him working hard to
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have the best possible grand opening weekend on Sept 2-3, 2018 of Eisei-En, his new nursery located outside of Nashville, TN. It was then that I realized that over the past (roughly) 10 years Bjorn has crossed boundaries in multiple areas. Bjorn spent six years as a full-time apprentice of Mr. Keichi Fujikawa, proprietor of Kouka-En Bonsai Nursery in Osaka, Japan, followed by 3 years as the first foreign-born, bonsai professional working in Japan. A talented musician, photographer, videographer, blogger, audio editor and video editor, all the while working on acquiring his PhD and studying what makes a proper fondue. OK I’m not sure about the fondue but the rest is all true. And luckily for us he adds to our bonsai in America discussion: Bjorn comments: “First, I’d like to say, as I travel around the world regularly, working with bonsai clients and groups in dozens of countries, the only place in which I’ve encountered this phenomenon of labeling bonsai by country is the United States. No An ancient looking shimpaku juniper, Juniperus one has ever said to me ‘I want to chinesas. Tree and photo by Bjorn Bjorholm. create Spanish Bonsai’ or ‘We are trying to develop Polish Bonsai.’ Rather, the goal in nearly every instance is to create simply ‘bonsai’ and whatever emerges from the back-end may very well take on a different appearance than what one typically considers Japanese bonsai, but it’s not an active goal on the front end. In other words, there isn’t a forced narrative upfront in creating bonsai in these countries, but rather a pursuit of art, beauty and design (all of which are influenced by culture) utilizing living plant material (whether native or imported) to create bonsai. That said, one can certainly see differences in stylistic approach from country to country, whether subtle or braggadocios. The point is, though, that these differences emerge from those cultures rather than being actively forced from the get-go. Being inventive is a good thing - but only if it’s based in an understanding of the technical (not subjective) aspects of design. In other words, a painter must first learn that mixing blue and yellow paint creates green paint before he can then paint like Rembrandt. It’s the same in bonsai culture - subjective design outcomes only arise from an understanding of objective technical application (whether that be mechanical, as in wire application, or horticultural). Beyond that, creativity is what makes art art, and what makes it exciting to be a part of the development of bonsai in the US. All art is invariably influenced and affected by the cultural context in which it arises. There are
…the only place in which I’ve encountered this phenomenon of labeling bonsai by country is the United States. — Bjorn Bjorholm
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very specific reasons why bonsai has developed the way it has in Japan, largely stemming from the culture - i.e. the long-term orientation of society, focus on subtlety and detail, conflict avoidance and the collectivist nature of society. In Japan, there is a cultural emphasis placed on subtlety, whether in design, flavor, coloration, etc. This extends to bonsai art, meaning that subtle differences from artist to artist are sometimes difficult to delineate, but to the trained eye they become glaringly apparent. I would ask that readers be aware that bonsai in Japan are not all the same and are not governed by some set of design ‘rules.’ In fact, quite to the contrary, the diversity of design is spectacular from nursery to nursery and from professional to professional.”
Ryan Neil September in Rochester: Of all the teachers in this article, I personally know Ryan Neil the least. I remember the exchange very well, though we only shook hands and
Two Collected Colorado Spruce, Picea pungens, bonsai and photo by Ryan Neil swapped around 20 words - once. It was 2 years in my bonsai journey and seeing how the US National Bonsai Exhibition is a stepping stone, a bonsai Jerusalem of sorts, my arduous and treacherous pilgrimage from Raleigh NC to Rochester NY, which would come to require almost machine-like endurance, needed completing in order to emerge on the other side, thoroughly indoctrinated in bonsai. I was meandering down the vendor aisles, trying hard to regain my composure after a recent traumatic experience whereby a sialoquent club member held me hostage in conversation for over an hour. On my hunt for tissues I was surprised to notice Ryan. I was thinking he was still in Japan. My attention was quickly redirected to Ryan’s 14
hands which were slowly and meticulously applying small, thin, copper wire to numerous, miniature branches on curly trunk, shohin-size, juniper pre- bonsai. I recall seeing a veritable sea of little trees, patiently waiting for the young master’s hands to come and shape them. I decided to bother him in the least obtrusive way possible and I reached my hand over while saying “Mr. Neil. My name is Saimir. It’s nice to meet you! I think you’re doing good things for American bonsai.” He reached his hand over, shook mine while replying with a simple yet enough said, “Thank you!”. He went back to work and apparently hasn’t stopped since, vigorously promoting American Bonsai. Ryan states: “I think it is interesting that we feel the need to draw this line in the sand and be committed to either authenticating the Japanese model and script for bonsai creation or go off in a completely innovative direction more representative of our culture and the natural environment here and our species. There are very subtle changes in Japan but that line in the sand does not have to exist. A proficient practitioner can do justice to the Japanese approach. I feel like the Japanese model is more craft and more repetition of the pattern and I think when you move into art you need to be innovating so I think bonsai is a lot of different things depending at what angle and what depth you choose to view bonsai. For me, bonsai has become a lifestyle practice much like people view yoga or meditation. If I had to look at one limitation of bonsai evolving I think the idea of “tray”, the “bon” part of the word is the confining part. The tray, the ceramic vessel, at least in its interpretation that is accepted from the antique Chinese container form has basically been duplicated for the past 100+ years in Japan and is the confining component that keeps it as Bonsai. I don’t think because you are using a traditional container that you must abide by the orthodox rules. The beautiful material available in North America that is not available in Japan should be driving the process. If we continue to explore and try to do justice to what the material is offering and what the landscape created, and avoid the “ball-and-chain” approach of the consistent, daily repetition of the Japanese, our approach will diverge by the dictates of the tree. Japanese bonsai bears more cultural influence and representation of ideals than does the natural environment. Where I see people push the ceiling and break down some of the walls and barriers or at least expand the box is in recognizing that there are some outstanding specimens out there and wonderful landscapes and conditions to explore, species to pioneer that don’t exist in Japan and don’t fall into their culture. I also think we have a representation of ancient design which is very special to North America because there are so many locations in the world that people have occupied for so long that ancient trees don’t exist anymore. It has been shifted to a cultivated landscape and that change means that you don’t get that natural representation of what it looks like to go to that far expanse of time and life span of a species that North America has with the Bristlecone pines, redwoods, and sequoias, etc. We have Olympic National Park with 11 grand champion trees that are the oldest and largest of their species. There are several of the best deciduous models of an ancient form on the East Coast through the Midwest and the Rocky Mountains as a backbone of ancient history. So we have everything to form a new idea as to what happens when the lack of predictability with the extremes of the natural environment creates a high level of design and photosynthetic efficiency to adapt to those conditions that wind, snow, sand, sun, lack of moisture and the elevation create. How does the design of 15
the photosynthetic mass adapt to the randomness and the harshness of nature to be able to weather and survive all those prolonged, significant influences? At Mirai, we explore the influences as a laboratory to understand our material. We dive deep into what it means to embody freedom in a creative pursuit and still respect the quality that needs to be generated and what does it mean to think abstractly and what does it mean to represent a concept and what does it mean to execute the totality of the elements, culture, nature, and individual to really maximize the conversation and the ability for the final tree to communicate that to the viewer. One thing Mirai is exploring is the context of the exhibition and the idea you present a tree to the viewer beyond the tree beyond the container, etc. to a viewer to be interpreted. You take all of this into account and you recognize what you can communicate is not just miniature representations of a natural environment but also time capsules for representations of culture. All these things are contributing to that final tree in a manner that most professionals are attempting and exploring, and really struggling and grappling with as the concept of bonsai in North America.
Rob Kempinski For security reasons, in the following sentence, all the pertinent information has been changed to protect the identity of the artist. Location unknown (Rob’s backyard in Melbourne FL), time unknown (middle of the day). I said to Rob “Oh that’s a neat idea. Can one use a magnet in the floating stone and another mounted in a base underneath in reverse polarity to push it away, thereby The Kraken, a Cuban Laurel Fig (Ficus microcarpa), styled floating?” Rob like a sea monster. Photo by Joe Noga responded, “Not really. The size of the magnet would have to be immense. Remember, F (force) = M (mass) x A (Acceleration). The weight of that stone and tree is roughly say 60 lbs, the amount of force required to achieve a floating effect, at 1g is yada, yada, yada (he calculates something in his head, only God knows if it's right) so the magnets would need to be the size of a car”. Rob Kempinski is a modern-day Renaissance man. Known as The Bonsai Golfer, founder of Mahogany Row Studio, author of “Introduction To Bonsai: Growing and Appreciating Bonsai Across the Globe”, and past President of Bonsai Clubs International. He has travelled to every continent for bonsai (except Antarctica). He lives in Florida where the species he grows for bonsai are different than the 16
temperate trees the other artists in this article style. These species and their climate along with Rob’s unusual mix of left and right brain have enabled him to approach bonsai with a slightly different point of view. Rob adds: “Many countries across the world have adopted the Japanese word “bonsai” to define artistic dwarfed trees in pots. While the Japanese word popularized the art, bonsai has transcended beyond Japan to a global phenomenon, so do we really need to have the term American Bonsai? Can you capture the ethos of a nation in its art? Sure. Happens in every art form, but the operative word is art, and not the adjective. And so I would posit that the artistic goal is what is important and not so much the nationality. If the goal aims to capture the free spirit of the Nebraskan plains, the dankness of the Olympic rain forest, the antiquity of the Adirondacks, the tropical colors of Miami, or the abstractness of the American melting pot, the emotional content conveyed defines the art. If the art successfully conjures the emotion, and the feeling reminds one of America, then it is a success. When I style a tree, I set a design goal and then shape the tree to convey the telos. For example, I designed a tree planting as an eidetic of the novel “A Tree grows in Brooklyn.” But my goals aren’t always based on America. I’ve styled a fig tree to channel the Kraken, using the sea monster from Norse folklore for inspiration, another for a post apocalyptic Chinese wax factory, and others to reflect science fiction ideas and characters. To get around the connotation of bonsai or American bonsai, I have started to refer to what I do as tree art and not worry about categorization. So, if you want to have American Bonsai, then use an American ideal as your inspiration to style the tree.” Yuji Yoshimura as remembered by Arthur Joura and the author, Saimir Ogranaja I have attended a number or two, shy of a decade of classes from Arthur Joura. In one of these classes he brought in a handheld (albeit with several hands) miniaturized forest, planted on a large sheet of plywood. He told the story of how the planting came to be “In January of 1995 I was able to spend a brief period studying with Yuji Yoshimura at his home in Briarcliff Manor, NY, a highly memorable experience I regard as the most influential of my bonsai career. On that trip I had taken with me 25 American Hornbeam, Carpinus caroliniana, trees in plastic nursery pots, 3 years from seed and completely untrained for bonsai use. On the final day of my stay Mr. Yoshimura used 17 of these trees to make a landscape planting. Along with the hornbeams, I had brought with me 2 different stoneware trays, quality Tokoname containers, one of which I anticipated would Michael Hagedorn's collection a Mountain Hemlock clump, Tsuga mertensiana. Photo by Joe Noga.
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be used for the group. But Mr. Yoshimura had another idea. Scurrying to the back end of his dilapidated greenhouse, rummaging through a large and precarious pile of assorted stuff, he pulled out an oddly shaped piece of plywood, announcing, “We will create masterpiece - ON WOOD!” I was dubious, never having seen a bonsai planting done on a piece of plywood. “Oh no” I said, hoping to dissuade him, “that’s too nice - I’m sure you had something else planned for it!” Arthur’s pleas fell on deaf ears because it had taken Mr. Yoshimura about 0.16 of a second to make up his mind and his mind was made up. Surprisingly however that humble plywood lasted 18 years of constant moisture then repetitive freezing and thawing in the beautiful Asheville winters, before it needed replacing anew. In honor of this experience, Arthur used a pattern of the original then traced it over a new sheet of plywood, which would serve for subsequent years. Yuji wrote an article in International Bonsai magazine in 1993, “Bonsai. Is it an art?” The definitions and paragraph below were taken from his article: Bonsai – a noun and verb, singular and plural. As a noun, it is (1) a potted plant, (2) an artistic miniature potted tree. As a verb, “to plan (tsai or sai) into a pot pen or bon) Crescent moon Buttonwood, Conocaprus erectus, a Florida tree with lunar inspiration. Tree and photo by Rob Kempinski
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Art – a noun, singular. Art is opposed to science. Art is a cultural act by humans, science is the knowledge to recognize actuality. “Art has become so broad in scope and definition that recent societies are more specific in interpretation of meaning and us- age. There are categorization refinements, such as “ fine arts”, painting, sculpture and architecture, and “visual arts”, the category where bonsai is found. However, at the core of all these definitions and categorizations is the basic truth that art is the result of the human creative impulse for beauty. Even though the human urge to create “beauty” is behind our using living plants in the creation of bonsai, why accept bonsai into a group of visual arts, particularly since keeping the plant alive in a pot is within the domain of science (horticulture)? In taking the leap from “potted plant” to “artistic potted plant” we have bridged the gap between art and science. Bonsai must be supported by both, simultaneously, to achieve its full potential. Bonsai is a divergent branch of horticulture (science) with the intention to create beauty (art). As with all art forms, beauty is in the eye of the beholder. Many different schools and approaches have emerged during the development of bonsai as an art and a science. There- fore, whether a potted plant becomes a bonsai and fulfills artistic potential is dependent on the owner’s intention and taste.” If you’re still unsure, use the following checklist to decide if you’re doing American bonsai or bonsai in America. Are you a local human capable of emoting? Check! Old, gnarly, barely surviving local species? Check! Are you endangering life and limb seeking local trees to use for miniaturization inspiration, across your nation? Check! 18
So what you have then is bonsai and it could be “Ameri- can Bonsai” or “African Bonsai ”or “Albanian Bonsai”, or “Bonsai- In-America” or “Bonsai-In-Africa” or “Bonsai-In- Albania” and all would be right. But the real question, is bonsai art or craft? Well, Yuji answered that question in 1993 and we didn’t listen, but being backed up by modern day teachers Bill, Arthur, Walter, Bjorn, Ryan, Rob, and others maybe now we’ll listen. Without question bonsai is both. So integral is one to the other that you can’t have a successful tree without creating a beautiful balance of these diametrically opposed nouns. Art and craft run hand in hand in the journey of bonsai, just as in life. Study both, practice both and above all, Happy Bonsai! Author In 2008, Saimir Ogranaja got inspired by Professor Amy Liang’s book, The Living Art of Bonsai, and has been growing bonsai ever since. He still has his first tree, a Brazilian Raintree in a South African flat-top style, a design quite popular thanks to Erik Wigert’s efforts. He is a global traveling, award winning, professional photographer with a focus on architecture, hospitality, and finding good coffee shops. He lives in southwest Florida and is currently searching for a long term, close distance relationship with a really cool Casuarina, so if you know someone that would like to pass a fine old specimen to a bald young man, send them his way .
Rhodohypoxis baurii accent and phot by Rose Marie Voelker
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BSF Interviews Robert Pinder, Dragon Tree Bonsai With the final season of Game of Thrones soon to air, lots of people will be interested in dragons. Yet for many years, Florida bonsai has had its own Dragon at Dragon Tree Bonsai in Stuart, the domain of Robert Pinder. Robert Pinder has been offering select and beginning bonsai trees to Florida growers for several 20 years. He has an amazing ability to grow a wide variety of specimens and has pioneered several interesting techniques, such as growing Bald Cypress trees in a partially flooded moat (Maybe the moat is channeling the castles and dragons đ&#x;˜Š). Dragon Tree is a full-service nursery that offers trees, supplies, pots, classes and bonsai care. If you haven’t been maybe this interview will make you decide to visit.
Robert Pinder (r) receives a BCI excellence award from former BCI President Rob Kempinski for a wonderful Florida Hackberry a few years ago BSF: Please tell us a little bit about yourself? What was your career, was it always bonsai? How long have you been doing bonsai? PINDER: I am of Bahamian heritage. My parents had a chicken farm and Dad grew cut flowers (mums), potted flowering plants and landscape plants. I graduated from Florida Southern in Lakeland FL with a degree in business management / horticulture. I moved to the Stuart area in 1976 and started a wholesale nursery. My three children are my greatest joy and I love what I do. 20
Growing plants for bonsai was a hobby until 2001. My oldest tree is a Miracle Fruit which grew from a seed that I took from the greenhouses at FSC in 1971. Bonsai came to be a part of my life through a college friend who graduated a year ahead of me and was posted in Okinawa. He sent me the book “The Masters Book of Bonsai” which I still have. BSF: How did you come up with the name of your nursery- Dragon Tree? PINDER: I like the mythology of the dragon. I realize that different cultures in different historical times have dragons with different characteristics. For the most part they are benevolent. At one of the BSF conventions I was vending, someone was selling a variety of prints and that is where I found the nursery logo. Dragons have a certain mystery about them and so do trees. BSF: Florida has a unique place in American horticulture and bonsai in that we range from tropical to temperate species. Your nursery has a prolific variety of species. What is it about your nursery that allows you to grow both tropical species and many temperate species? PINDER: Florida has several temperature zones plus a very long coastline. This gives both growers and artists a tremendous opportunity. I don’t know why the industry is hung up on six or so different species. I grow that many different varieties of each of Celtis and Ulmus. One part of the mission statement for Dragon Tree Bonsai is to introduce new species and this takes time and education. Growers need to be more experimental and artists have to be more creative. Both of these require that we learn. I don’t know if there is anything significantly different, except for the geographical location of the nursery. You have to make adaptations for the species (varieties) you are planning to grow. Some species need heat, some cold, some wet, some dry and some need a combination. It’s all in learning what to do with what you would like to grow. BSF: Do you have a favorite species for bonsai and why? PINDER: I don’t have a favorite species. I appreciate them for what they have to offer. Some of them it’s form, some it’s texture. It can be branch and twiggyness, color and so on. I try to give my trees a natural appearance. BSF: How would you say the potential of tropical species compares to non-tropical species for developing bonsai? PINDER: There is equal potential for both tropical and temperate species. The key to success is learning how to treat them. BSF: What is your opinion about the long growing season in Florida and how would you advise bonsai enthusiasts to capitalize on it? PINDER: Our long Florida growing season should give us a greater opportunity to enjoy our trees at their optimum. We do not have to be in a rush to do major pruning, wiring, etc. It also allows our trees to develop more quickly which is rewarding. 21
BSF: As the owner of one of the premier bonsai nurseries in Florida, what advice could you give visitors to bonsai nurseries to maximize their enjoyment from a visit? PINDER: My advice to visitors is “don’t be in a hurry”. Take your time to examine each tree from root to apex. Sometimes you will be surprised at what you see – lizard on a limb, frog in a crevice, an old snake skin dangling from a branch. Then step back and enjoy the whole picture. Also, ask questions. BSF: You teach many classes at your nursery. What do you think is the largest problem students need to overcome to improve their bonsai? PINDER: The biggest problem for most of us, not just students, is taking the time to seek the knowledge and apply that knowledge consistently. BSF: What challenges you about the art of bonsai? PINDER: My challenge with the art of bonsai is to get my trees to look like trees growing in the wild at the whim of Mother Nature. Art is different for each of us and my suggestion is to enjoy what you do and be proud of what you accomplish. \The major challenge of the bonsai industry is to teach hobbyists how to keep their trees healthy and growing so they can achieve their artistic goals. A lot of emphasis and importance is placed on styling to the detriment of the survival of the tree. BSF: Where do you see the art of bonsai going in Florida in the near-term future? PINDER: I have no idea of the future of bonsai in Florida. I have a lot of younger people as customers. try very hard to see to it that they get the necessary horticultural information to keep their tree(s) alive and growing. If they succeed they will keep on improving, horticulturally and artistically. Hopefully this translates into a bright future. Personally, I think that BSF has a tremendous opportunity to become a national force and play a role in uniting the tropical bonsai world in our hemisphere. A candid shot of one of Dragon Tree's native bonsai.
BSF: Do you have a favorite bonsai moment you’d like to share? PINDER: I don’t know if this is a moment, but it is a great story. It started about 17 years ago with the Treasure Coast Bonsai Club at an Adams Ranch collecting trip. Most of us were stomping around with shovels, hand saws, chain saws, etc. looking for the Holy Grail of bald cypress trees. So happens, Joyce was on the trip looking for a tree of her own. However, she only had a hand trowel to use for her collecting. She found her tree, an American Elm seedling a little bit bigger than the lead in a pencil and about 15 inches tall. Now that tree is one of the most admired bonsai in the nursery. 22
The Early Days of Bonsai at EPCOT A Magical Experience The EPCOT Flower & Garden Festival By Ed Trout
The First One - In 1994, our Study Group, and others were asked by BSF to provide display trees for exhibit in the inaugural EPCOT Flower & Garden Festival, that would run from mid-April until early June. The trees were to be on display throughout “Japan”, on the World Showcase circuit. Little did we know that this would be the beginning of one of the most unique Bonsai Exhibitions in the world. Thousands upon thousands of EPCOT visitors would see our work every single day. It became a yearly happening in The Trout household for the next 25 years! Not only were the exhibitors treated to an experience of a lifetime, but also their entire families were able to share it. Just having the opportunity to enter this fabulous theme park from the mysterious “back side”, made us all wide eyed with wonder. Our first group included Jim Smith, Jim Moody, Mike Rogers, Helen Souder, Jim Van Landingham, Mary Madison, Mike Cartrett, Tom Waldo, and others this old brain can’t remember. The Bonsai Societies of 23
Florida should be commended for their insight and dedication to continue this incredibly worthwhile bonsai event. Here are a few photos that we took that weekend.... photos that really show the uniqueness of this event, from a Minnie Mouse bonsai picture, to one showing my car “parked” in Japan, and a few of my tree plaques from the last 25 years. Wonderful memories, of a Magical Experience!!!
Clockwise from top, the 1994 exhibitors back row right to left Jim Moody, Ed Trout, Mike Rogers, Rob Moak, Jim Smith, Tom Waldo, Jim VanLandingham. Front row left to right Frank Harris, Helen Stouder, Mike Rogers, unidentified, Lee Vanderpool, Stuart Shapiro, unidentified (if you recognize the unidentified people please let us know.) Mini Mouse in a kimono in front of Ed trout’s big Buttonwood. Driving to Japan, a first for most. Special quest badges used in 1994 only and some of the signs for Ed trees collected over the years.
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Collecting Bald Cypress \ By Rob Kempinski i
Bald cypress domes appear all over the state. They make a distinctive outline that from a distance looks like an alien space ship has landed in a farmer’s field. Despite the aliens, bald cypress can also make wonderful bonsai. They bud back practically anywhere on the trunk, they can have interesting shapes and they are readily available for collecting.
collected trees. The is bad juju with the bonsai gods. Let the tree recover before bragging about it. It’s a good idea to not go alone. Being hurt by yourself in the swamps can be a life limiting event. Plus, a group usually works together like Ewoks to remove the bigger trees.
Collecting bald cypress (Taxodium distichum) couldn’t be simpler. Perhaps the hardest thing is finding a landowner willing to let you traipse over
Four-wheel drive is necessary as you will drive through big mud puddles
the property looking for prime specimens. However, once securing permission, collecting them is a snap, albeit there is a little work involved.
Survey the area. Many beginning collectors mistakenly start digging the first tree they see. It’s tempting when a group goes out to start right away. Competitive pressure can lead to bad decision. The best thing is to search the area looking for trees that have merit and trying to visualize a style. Bring florescent surveyor’s tape to mark a tree you are interested in. Mark it high enough to be seen from a distance. Then scout out the area and go back to the ones you selected.
Bring proper tools, discussed below, drinks to stay hydrated, a change of clothes, something to eat, toilet paper, and have access to a first aid kit. Also, in the kit bag put a camera and cell phone to post photos because we all know if it’s not on Facebook, it didn’t happen. But don’t post photos of newly
Bald cypresses usually grow straight. Look for interesting flare at the base and good roots for formal upright or flat top styles. Sometimes, a calamity hurt a tree and it recovered; this can lead to a deadwood or some strange trunk configurations. Collect those.
Dave Williams, Gene Callahan and Reggie Perdue used hip waders to tackle this submerged cypress head. Note the shovel and saw. Bubba hats are optional.
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the tree and pulled it out with a tow strap. As soon as the tree is out, try to conserve as much soil as you can around the root. Place the tree in a container or plastic bag to keep the roots from drying out. It’s now safe to top the tree but leave a little bit more on the top than you will need to help carry and maneuver the tree into a pot. Then go back to the hole and back fill the spoil to level out the spot as much as possible. A Bald Cypress knocked over by something (probably that big 4-wheeler) years ago that we collected. In the Everglades and other south Florida areas, there is a local type of bald cypress that practically makes a natural bonsai. They grow very wide and taper to a short-convoluted top. While these trees are highly desirable for bonsai, permission to collect is hard to get. You can sometimes find one for sale and if you see one, buy it, as many more are not readily available. In Central Florida near Lake Mary bald cypress trees with exotic shapes lurk in deep water. Hurricanes about 20 to 40 years ago most likely caused the damage. Forget collecting these. They’re too big. Pay attention to size. When in the woods, big trees look small - until you dig them out and must carry them back to the road and then must find a bonsai pot for them. I bring a tape measure to make sure this size illusion doesn’t cause my “eyes to be too big for my stomach." The older mature trees have better buttresses but are too big for most bonsai – leave the monsters to nature. When collecting, dig a trench around the tree and expand the trench laterally so that you can access under the tree. I have found that a rounded shovel sharpened with a grinder and file does a great job cutting through the soft Bald Cypress roots. A solid steel shaft landscape shovel also makes short work of the lateral roots. If the tree has a tap root, use an expendable pruning saw (the sand in the ground will quickly dull the blade) to separate the root. Lately we have used a come-along and winch to apply pressure to the tree to help separate it. The last time, we even backed a four-wheel drive Humvee to
Clockwise, Ben Agresta (top of truck), Todd Gergerson and Rob Kempinski use Ben's Humvee to help pull and move collected Bald Cypress. Proper post collecting care will help survival rates. Over the years I have found that Bald Cypress bonsai do better if the roots are trimmed as soon as possible after collecting and placed immediately in a bonsai pot which is then submerged to its rim in water. The larger the body of water the better as the tree can access more nutrients and oxygen in the water and the temperature change from sunlight is moderated a bit. Another key point is to make certain the cut roots are completely covered with soil and water so that new roots can form at the top of the cut root. I have seen many a collected Bald Cypress that has dead root tops as the roots were not properly covered post collecting. If you can’t submerge the tree, then use heavy soil and cover the roots with at least three inches of soil and then cover that with a 1-inch thick layer of sphagnum moss. Water the tree every time you look at it but at least daily. More frequent water won’t hurt the tree. 26
FLORIDA BONSAI GALLERY Here are some of the incredible trees we have growing in Florida bonsai collections. If you’d like to see your tree featured in future issues, send a file to the editor Rob Kempinski at rkempinskiv@cfl.rr.com (remove the v at the end of the my name. I did that to prevent spam.)
Chinese Elm (Ulmus parvifolia) by Judy Gore (photo by Saimi Ogranaja)
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28 Paper Flower (Bougainvillea glabra) by Ronn Miller
Fukien Tea (Ehretia buxifolia) by Katherine Harris (photo by Saimir Ogranaja) This is a small tree lest than 9 inches tall.
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Powder Puff (Calliandra haematocephalaby) by Jesus Brito (photo by Saimir Ogranaja) Note the flowers getting ready to bloom. Bonsai Display at the Walt Disney World Flower and Garden Show starts March 6, 2019. Over twenty beautiful bonsai will be displayed for nearly three months in the Japan pavilion. Paul Pikel and BSF committee have done another outstanding job selecting the trees. Stop by EPCOT to enjoy the display and look for some photos on the BSF webpage and probably on Facebook as well. This year’s festival shirt is shown below.
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A Jewel in Fort Pierce - James J Smith Bonsai Collection By Dr Reggie Perdue
A few weeks ago, I was in a meeting and we brought up Heathcote Botanical Gardens and the James J. Smith Bonsai Collection. There were folks who didn't know who Jim was or that there was a bonsai collection in Ft. Pierce. I took it for granted that everyone knew of Jim and his accomplishments. Here’s some history and information on Heathcote and the Bonsai Collection. Much of the info is off their web site and some of my experiences. A plant nursery on Heathcote Street in Scarsdale, New York, was the earliest seed of what has grown and blossomed into Heathcote Botanical Gardens. Like many New Yorkers, the business was transplanted to Florida. In 1960 owners Jim and Mollie Crimmins moved the business from its original Florida location on west Orange Avenue to its current Fort Pierce site on Savannah Road. Then in 1972 the Crimmins moved their family home from Delaware Avenue to the nursery site. Now known as Heathcote House, the Crimmins’ home was built around 1922. At the heart of Heathcote is its historical house, now serving as administrative offices. Today the Frame Vernacular Style structure sits graciously amid old live oaks. Its second-floor balcony, Dade County pine floors, and quaint fireplace all add to its charm. It presently houses administrative offices. In 2001 the City Commission passed a resolution to designate it as a Historically Significant Site based on its architectural characteristics and ties to the life of the community When the Crimmins retired, they put the property up for sale. A group of concerned citizens led by Gloria Moore, Chris Haynes, Jan Bals, Norma Carsens, Laura Baker, Gloria Rooks and Peggy Berg saw the unique beauty of the spot and worked Jan Bals, Laura Baker, Gloria Moore, Norma Axx, Peggy Berg hard to preserve it as a public botanical garden. Heathcote Botanical Gardens, Inc., was incorporated in 1985 as a nonprofit; and in 1986 the property was purchased with private donations raised by Heathcote Botanical Gardens, Inc., and grants from the state, county, and city. Today the non-profit continues to maintain and operate the Gardens and carry forward its mission. James J. Smith (1925-2016) was noted as the gentleman of bonsai and is recognized as a world class Bonsai Master. His knowledge of tropical and semi-tropical Bonsai is sought after
Jan Bals, Laura Baker, Gloria Moore, Norma Axx and Peggy Berg 31
not only by students but also bonsai masters alike. His artistic ability to design classical and natural styles of bonsai goes unchallenged. His foresight to see the artistic development in raw stock was magical. In October 2009, Bonsai Master Jim Smith donated 100 of his finest bonsai to Heathcote Botanical Gardens on the condition that they would be properly maintained, displayed and protected. Unlike a traditional bonsai display lined up on benches with no competing scenery, Master Smith imagined a “Walk Through Bonsai” where visitors could stroll the beautiful Heathcote Botanical Gardens and discover a unique bonsai tree at every turn. The horticultural requirements of bonsai made installing them into the existing gardens impractical, and so a unique and original garden was planned by Sam Comer of Hayslip Landscape, with guidance from Master Smith and Jim Van Landingham. Master Smith pioneered the use of tropical species such as Portulacaria afra, (the dwarf leaf jade tree) as bonsai, and used many Florida native species to interpret the ancient art of bonsai. Sam Comer’s garden design and the architectural contributions of Peter Moor serve as a metaphor for Master Smith’s work. Elements of a traditional Japanese Garden (stone, gravel, limited landscape palette) Ed Trout, Pedro Morales and Pat Giacobbe join Jim Smith at the appear as rough native Florida plants and grand opening of his display building materials. “It’s where sushi meets fried mullet!” says architect Peter Moor. Using Landscape Architect Rodney Robinson’s master plan as guide, the new Bonsai Garden was placed on the south east corner of the existing five-acre botanical garden. The 10,000 square foot area was originally were the Crimmins’ family nursery received clients. During Heathcote’s early years, the Fort Pierce Orchid Society, the Heathcote Herb Society, Eddie Eggers and many dedicated volunteers built various structures and garden features, including the Herb House, Orchid House, and the Lib Tobey Rainforest Memorial. The ravages of time, tropical elements, and the twin hurricanes of 2004 damaged most of the structures beyond repair. A St. Lucie Tourist Development grant for $148,720 was matched by a $100,000 anonymous contribution, and enough internal resources to begin site work in August 2010. The grand opening was in May 2011. Here are some pictures from that day. Its’ nostalgic to see the trees as they were on opening day. I have very fond memories of Jim and his nursery.
Visitors enjoying the display
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The bonsai display stage and shaded area. The garden offers a beautiful day trip. A lot of time has passed since the opening. Trees have continued to grow. Some for the better and others not. Caring for this collection has never been a one-person job. I’ve been able to help the new curator, Tom Kehoe who has worked extensively with Jim Smith and his trees. Tom started at Heathcote in March 2018 and since that time has worked hard to get things looking good again. He with the help of others has been able to repot about 50 of the bonsai. The other 50 are slated for next year. We have reworked the entire watering system to improve water coverage and this has improved the health of the bonsai. Several stands have been repaired and tree maintenance has been going well. I have been able to help twice monthly for the past six months and have seen a lot of positive changes. Tom would like to invite others to help next year as there are many more trees that need repotting, and several are 4+ man trees. Tom is scheduled to work at the Garden the first two Tuesdays and last two Wednesdays of the month. Tom says the first thing on his “wish list” for 2019 is bonsai soil and large bonsai pots. The trees have been potted in Turface only and many of the trees have outgrown their pots. BSF donated 50 gallons of soil from American Bonsai as a start for 2019. I asked Tom his vision for the future of the Bonsai Garden. First off, he would like to see it become the Mecca of bonsai, a collection that every bonsai nut should see. As well as that, he would like the Bonsai Garden to be an educational center and place where clubs and bonsai related activities can happen. He also sees the collection expanding and suggests that Heathcote could be a “retirement home” for famous Florida bonsai.
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Regarding Heathcote Botanical Gardens, they have a new executive director, Diane Kimes who took over about 18 months ago. Here’s the cool part, she understands how valuable an asset the Bonsai Collection is and wants to promote it. Some of the interesting happenings at Heathcote include “Garden of Lights” where the entire garden as well as the bonsai, were dressed up with Christmas lights. At least 1000 people go through the garden over the weekend for 4 weeks during the Christmas holiday. Many people had their first introduction to bonsai during that event. The USDA is now on the grounds of Heathcote doing research and has been able to help Tom combat borers on some of the bonsai. They have started a database for the diagnosis and treatment of pests in Florida for bonsai. Diane was able to procure a grant from the Endowment for the Arts for new signage in the Bonsai Garden. I’m told this is a big deal. The bottom line is that Heathcote wants to be an asset to the bonsai community in Florida. I suggest everyone who enjoys bonsai make this a must-see collection.
The BSF Website - be sure to visit the BSF website. We post news and other information regularly. http://bonsai-bsf.com/ The Oldest Bonsai Tree in Florida BSF would like to do a feature on the trees cultivated the longest as bonsai in Florida. If you have or know of a candidate, please contact a board member via the BSF web page or through your district representative.
Next issue: Inspiration for Florida Native Florida trees Convention preview Buttonwood bonsai
Photo by Rose Marie Voelker
news and other events frequently.
to visit the BSF regularly. We 34post
Winter Shaping
BEGINNER TIP: REPOTTING
By Rob Kempinski People unfamiliar with bonsai frequently are surprised when you tell them a bonsai must be repotted to remain small and healthy. Yet repotting is one of the critical aspects of bonsai cultivation. Temperate trees need to be repotted now in the winter. In fact, the repotting season is coming to close for most of Florida. When dormant trees sprout the buds, it is a good time to repot. Tropical trees usually like to be repotted when the soil is warmer, and the trees are actively growing Some trees like Buddhist Pine (Podocarpus) and Japanese Black Pine (Pinus thunbergii) do well with late fall repotting in Florida. Learn your microclimate and the best time to report and your trees will do well.
Florida Elm in a semi-windswept style showing the effect of years of winter thinning Shedding winter fat in expectation of the summer bathing suit season isn't only for us humans. Late winter is an ideal time to shape branches of deciduous trees. When the leaves have gone, the past year’s tracery of twigs and branches reveals itself in all its complex glory. While bonsaists aspire for a mass of finely ramified branches, winter pruning assures next year's production of a similar amount of growth.
Some tree can take severe root pruning while other need a gentle hand. Learning the requirements of each species is fun aspect of bonsai. This is where BSF member clubs can help. If you have a question, ask a fellow BSF or local club member.
Unlike some other forms of art, a bonsai tree can not safely remain in peak condition all the time. As the trees grow, they change, adding foliage, girth 35
and twigs. Winter pruning helps clean up the past years growth and opens the tree. As sunlight hits the inner branches, buds will open closer to the trunk. This leads to finer ramification. If not pruned judiciously, leaves will extend at the end and deny sunlight and air from the dormant inner buds, leading to unattractive leggy growth. Sometimes, a major branch critical to a design will get too thick for its position on the tree. If this is the case, it must be pruned and the tree set-aside for a year or so just to regenerate. In Florida, we enjoy an extremely short winter season. Our deciduous trees have only a few weeks with no foliage. For instance, the Red Maples in the woods behind my house went only three weeks between leaf loss and new buds appearing. Elms, Bald Cypress and Hackberry have only a few more weeks. If you are from the north, this takes some getting used to. However, just before the buds break, i.e. now, is the time to act. The first task is to decide if the branch structure remains according to the plan for the tree. Hidden within the foliage cloud, some species can throw a surprisingly thick branch in one growing season. Typically, these are sucker shoots that can weaken other well-placed branches. Remove all unnecessary thick branches that don't fit the design. Prune them with a convex cutter to leave a nice mark that will heal over smoothly. Next, critically examine each branch. Ask these questions. When viewed from above, does the branch mimic the overall design of the tree? Does it have taper? Are there bar branches? Do branches point up or straight down? Is the space between nodes short enough? Do the branches continually ramify? Try this with one of your trees. Pick a branch with good ramification. Then start at the trunk and work out to the tip of a branch. Count each time you hit a branch. A well ramified tree should have at least seven levels of ramification. Some old trees have over twenty. If any branch can't stand the scrutiny of the above questions, then prune it hard. Let a new branch this year satisfy the goal. With the remaining branches, consider applying wire to enhance the shape. No leaves on the tree affords good access. However, our fastgrowing conditions means wire requires carefully monitoring. Cut wire off before it scars the branches. Clip and grow will also work, but the artist gives up a degree of control in exchange for a bit of nature’s entropy. A Chinese Elm branch shown before and after winter shaping
Winter pruning plays a key role in developing nicely shaped foliage pads on deciduous species. While this general advice works for most trees, the timing and amount of pruning will vary for tropical and non-deciduous species. If you're not sure what to do, ask a fellow club member, or better yet, bring the tree to a BSF member club meeting for hands on advice. We are there to help each other. 
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Photographs by Rose Marie Voelker Within the north-west confines of Florida lives Rose Marie Voelker, a global traveler with a gifted photographer’s eye. Rose Marie has traveled all over the world, and being a bonsai artist as well, she has managed to take some amazing candid shots of some awesome bonsai. Sit back and enjoy some of her shots from her global travels. If you like to see more of her images, check out her photos on Facebook, where she regularly posts photographs from her camera. 
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The Forest Floor - Why use moss on the soil of a bonsai tree. • • • • •
Moss and other small planting simulate the forest floor and place a bonsai in a larger context. The delicate features of moss match the appropriate scale of a miniature tree. Moss also keeps the soil in place and prevents erosion during watering. Moss adds color and textural interest to a planting Florida does not have that many useable varieties for bonsai trees. Moss like fine mist and slightly acidic soil conditions. Golf courses are great places to scout for moss. The above photo was an actual Florida bonsai tree forest planting.
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