Trolls Happily Guide Visitors To South Coast Botanic Garden

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Give a hearty welcome to Kamma Can the Trash Troll, Ibbi Pip the Birdhouse Troll and their four friends. Ibbi will even invite you into her playhouse for a walk-through replete with seating, multiple bird houses, and engaging signage, which is where the fun and adventure begins.

Now residing joyfully at South Coast Botanic Garden on the Palos Verdes Peninsula, these immense, impressive, and super fun sculptures have taken up a temporary residence through mid-January at the garden. Created by Thomas Dambro with the message of “Save the Humans,” these trolls are spreading a lovely theme of sustainability, the preservation of nature, and gentle guidance.

The mammoth folklore-inspired sculptures are made from reclaimed materials, and the six delightful figures stand at a variety of locations throughout the garden’s 87-acres. Their mission: help humans save themselves and their world.

The story behind the exhibited Trolls sculptures relates that “hundreds of trolls came together at “Trolliefolkyfest” to discuss their favorite topic – us . While they know we mean well, we keep failing them by making questionable choices, like cutting down forests, emptying rivers, and putting humans – and them – in danger. While most of the trolls think we are past saving, these SIX think they can help us.”

Certainly their beautifully crafted faces speak of wisdom and love, their big hands must match their big art-hearts.

Dambo is undoubtedly the world’s leading recycle artist. Before he created these figures and other larger-than-life sculptures, his career ranged from music to street art and scenic design. With a master’s degree from the Kolding Design School, the internationally-renowned artist created the Trolls from recycled wood. There are 87 such figures on exhibit globally from Denmark to South Korea, and of course, here in the U.S. Dambro’s vision is to create inspiring art that demonstrates trash can be used to create beauty – and spread a message of environmental rescue.

Along with the trolls themselves, Dambro’s exhibition at South Coast Botanic Garden includes colorful wooden birdhouses, which also play a key role in his work. In fact, the artist has birdhouses placed throughout Denmark. The birdhouse troll, Ibbi Pip is said to speak to humans via birdhouses using them to bring animals close to us and encourage human compassion, according to exhibition media.

This is a truly wonderful, charming, innovative exhibition that deserves to be seen as art, and for its message. Add to that the allure of strolling through the gardens themselves in the wintery sunlight, and this is a perfect afternoon adventure for all ages – so bring any kids along, too.

The exhibition runs through January 14, and is included with garden admission. South Coast Botanic Garden, the world’s first to be built atop a former landfill, was dedicated as a garden in 1960.

It’s located at 25300 Crenshaw Blvd in South Torrance, on the Palos Verdes Peninsula. Tickets which are $15 for adults, $11 for seniors, and $5 for kids 5-12, can be purchased here. 

  • Genie Davis; photos by Genie Davis

 

Kerrie Smith Provides Fabulous Fecund Beauty with Flora Ficciones and More At Gallery 825

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The immersive experience of Kerrie Smith’s work in Portals and Pathways, at LAAA’s 825 Gallery through December 1st, is one that is both delicately beautiful and intimate.

The exhibition takes viewers on a journey inspired by Smith’s own daily walks along More Mesa in Santa Barbara. It’s a literal and emotional garden of delights that stretches from floor to ceiling with gauzily floating banners forming a kind of forest, printed with images of Smith’s paintings and sheer fabric with the lovely words of the artist’s own poetry.

The poetry was imprinted using hand-stamped wooden blocks that Smith carved. Both hanging, and positioned like small pools of nature on the floor, circular photographic images of the More Mesa’s wildlife and plants offer a joyous glimpse into Smith’s inspiration. Adding to the immersive quality of the viewing experience is an audio component recorded by the artist, providing the sounds of chittering animals and birds, wind, and ocean waves.

The artist says she’s inspired by “California light and the interaction of color,” and that she has a “passion for patterns in nature.” In her exhibited poetry she describes the nature around her – birds, butterflies, flowers, as containing a “quiet joy” that brings them “contentment and peace within their worlds.” These words could also describe the sensation of viewing her paintings.

Entering the gallery, it’s immediately striking how beautifully Smith captures the natural light she loves. The banners, interspersed with small, circular hanging discs that depict her photographs of nature, as well as the artist’s portal-like circular photographs on the floor of mandala-like stones, sand, and grasses, all contribute to a sense of the ethereal. Texturally, of course, the banners are “floating” from the ceiling; sunlight spills in the gallery windows. But like a fine cut-glass prism or natural gemstone, the light is refracted in and reflected through, Smith’s art.

“More Mesa,” she writes on one banner, “There is so much happening it could be called a field of dreams. It always surpasses our imagination.”

As beautiful as this experience is, it’s only the start. Smith’s artworks, a mix of circular and more conventional shapes, offers viewers a vivid palette and a details delicate brush, as she literally pulls the eye and heart into plants and flowers. The work is both sensual and magical, a lush combination that evokes the Eden that Smith has found near her home of 28 years through the prism of her brush.

In short, her paintings bring the mesa she loves so much to vibrant life, as she records and experiences them on her walks in nature.

Smith’s 24-inch circular wood panel, “Bellum Natura,” deftly blends acrylic and mixed media with gold leaf, the latter heightening the sense of the preciousness of the flora. Here, a vivid purple flower is the centerpiece of a swirl of greens and golds, with lines and shadows that evoke the sea-close location.

From the same series, her Flora Ficciones, comes the acrylic painting “Deena Dallancia Desconsita,” a dazzling pink and yellow sea plant surrounded by dark yet radiant blue water and nearly translucent pale green fronds of sea lettuce.

A combination of acrylic with mixed media, “Clytie Girasol Galaxis” is a glorious rust orange flower with a purple and gold center, surrounded by yellow/green blossoms, and what resembles floating orbs of yellow light, or a magnified seed pod, carried by air. A similar flower, but this image a startlingly deep pink, is aswirl on circular wood panel in “Carpos Medea.”

The titles of each piece are derived from the ancient Greek – for example, Clytie means glorious. They also recall Greek myths. Clytie was a water nymph who fell in love with Apollo, keeping her eyes always upon him as he moved through the sky. She was transformed and became a sunflower, always turning toward the glowing sun.

Each of these works are special, both for their color and depth, and for their luminous beauty. These paintings are Smith’s true poems and tributes to the nature she loves, a reverent tribute, to the earth we so often fail to appreciate – but which Smith cares about and for quite deeply.

If you can’t see this special show in person, visit many of her images online . Smith will also have one of her Flora Ficciones “Calendula Asterales,”  as part of the Sullivan Gross Gallery’s annual holiday exhibition starting December 4th, with a reception on the 7th. Sullivan Gross is located in Santa Barbara.

  • Genie Davis; images provided by gallery, artist, and by Genie Davis

 

Feel the Beat: Robert Standish is Beyond Rhythmic

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Robert Standish is ready to rock your vision with a vibrant new series, opening at Costa Mesa’s Martin Lawrence Galleries. The powerful punch of this exhibition expands on his previous series, Rhythmic. Equally impassioned and intense, his latest series, New Works on Canvas, throbs with visceral color and bold gestures. Working in acrylic, the often large-scale works essentially invite viewers to dive into a seemingly swimmable sunset.

The artist creates images that evoke exorbitant floral displays and kaleidoscopic flow. His images are as compelling as neon reflecting on a rainy night street and as tangled as a tropical jungle of gemstones and fireworks.

Some works are on fire with their own inherent radiance, which others shimmer with an opalescent quality, as in the delicate, madly crowded flowers of “Bloom.” Still other images remind the viewer of feathers, perhaps an Amazonian parrot with wild wings, as in the artist’s “The Mind’s Eye.” More restrained are the almost pristine flowers floating in slow motion against royal blue in “Floriography.”

The abstract artist describes his work as being about transcendence, and his paintings have been described as a form of “transcendent expressionism.” It’s a fitting description for their high energy and luminous shine. The thick, emotive surfaces. often crackle with energy. While the brilliant colors of Standish’s palette could clash in other hands, these works have a harmony that quiets their core.

Essentially, these images are rainbows on adrenaline overload, singing to the senses – but they’re also balanced, containing a moment of silence within the rush of paint.

 An interesting aspect of Standish’s work is that he was preveiously a photorealist painter. That precision and fine hand is still quite visible, but his palette knife and brush painting has been transported into something more mutable, what he calls a motivation of “random rhythmic color bursts, abundant paint, and most importantly a request for Divine guidance.”

Terming his current work as spontaneous, Standish says that his move into the abstract was driven by a desire to “paint differently [than in] ego driven and deliverable style.” The boldness of his work is an apt outgrowth of color field painting and abstract spiritualism, both of which he describes as inspirational influences. His largest inspiration however is “the creative force all around us.”

It may be that force which inspires his fluidity and his graceful precision, which often implies a captured, liquid motion.

As he connects with the zeitgeist of his creative force, Standish makes sure the force is with you, too, as he weaves his light saber colors into a shimmery glow.

The Los Angeles-based artist has works in the permanent collections of LACMA, at the Weisman Foundation, MOAH, and the Crocker Art Museum, among other collections.

New Works on Canvas will debut Saturday, November 18th at Martin Lawrence Gallery,  3333 Bear St, Costa Mesa, CA, with Standish in attendance. The exhibition will be on display through mid-December,  ready to uplift those flagging spirits even during stressful times and the chaotic holiday season.

  • Genie Davis; images provided by the artist and gallery

Get Your Zen On

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With Zen Psychosis: Anatomy of a Dream, at CSULA’s Ronald H. Silverman Gallery, the lustrous pinhole photography of Osceola Refetoff melds with the theme and written words of Shana Nys Dambrot’s lyrical book of the same name.

Curated by Mika Cho, the exhibition makes strong use of Refetoff’s hypnotic pinhole images, many of which were published in the book Zen Psychosis, whose poetic/surreal dream memoir aesthetic is aptly brought to real life (is it real? Or just a dream) in the exhibition. The book mutably blends Refetoff’s evocative visuals with Dambrot’s prose.

Both ask you to recall what do our dreams look like – both in the hidden world of sleep and if they should appear in the waking world. Perhaps they most closely resemble Refetoff’s large-scale Kinematic pinhole, “Whale Spotting,” shot in Antarctica, or the mix of Claymation and live-action stop motion animation swirling through the artist’s short film, “The Savage Sleep.” Also the stuff dreams are made of: sculptural images culled from the photographic artist’s collection of found objects, including an adorable black cat; and of course, the hypnotic words that propel readers into a dream state when reading Dambrot’s book.

Like Refetoff’s mysteriously magical pinhole images themselves, the exhibition is blissfully seeped in surrealism and respectful wonder at the natural world, of which dreaming is an intrinsic part. The pinhole process requires long shutter times, as images are shot thru a tiny pinhole instead of a lens; likewise, both exhibition and book require of viewers a slow survey of the strange beauty that surrounds us – the stuff of dreams.

Just as the Eurythmics sang in the fever dream years of the 1980s, “Sweet dreams are made of this/ Who am I to disagree/I travel the world and the seven seas/Everybody’s looking for something.”

Should that something be a trippy beauty, or a porthole to some other ArtWorld (or even this one), get your Zen on while you can.

The gallery is located on the CSULA campus in the Fine Arts Building. The exhibition will have a closing reception with a reading and book signing by Dambrot Tuesday November 14th from 6- 8 p.m.; it runs through the 16th.

  • Genie Davis; images provided by gallery