Phew — I’ve just returned to Melbourne, Florida after a 3,500-mile round trip in my Ford F-150 to the US National Bonsai Exhibition. Two weeks on the road gave me plenty of time to reflect, and I’d like to share a few musings about this milestone event.
This show was likely my 100th bonsai exhibition as an exhibitor. I’ve attended many more worldwide, but there’s something special about showing trees. It takes effort—over 100,000 miles driven and countless nights in hotels—but I believe art is meant to be shared.
I’ve been to every U.S. National show because I feel a responsibility to support Bill Valavanis. About 18 years ago, Colin Lewis and I began planning what we called the All-American Bonsai Exhibition. We faced plenty of hurdles—no team, no location, no venue. While scouting the New York Botanical Garden in the Bronx, we decided to also see how the Europeans did it, so in 2007 the two of us, along with Bill and Suthin Sukosolvisit, attended the final Ginkgo Bonsai show in Ghent, Belgium.
Somewhere between café discussions and the flight home, Bill made up his mind. Mid flight home, he opened his MacBook and showed us a presentation outlining his concept for a U.S. national bonsai exhibition. Colin and I gladly turned the idea over to him, and in 2008 the first U.S. National Bonsai Exhibition was born.
Since then there have been nine exhibitions in Rochester, and Bill says number ten is coming—likely the last one he will oversee.
What stands out to me most is the sheer quality and diversity of bonsai shown over the years. These exhibitions prove just how far the art has advanced in the U.S. Each show is also beautifully documented in books photographed by Joe Noga—volumes I often revisit for inspiration.
Rochester has been a great venue thanks to Bill’s team, though it’s not centrally located—1,200 miles from Florida and even farther from the West Coast. I admire the artists who drive across the entire country to participate. I only do half that distance, and it’s still a grind. This year I made the trip more enjoyable: six rounds of golf in five states, a figure painting class, a model exhibition, and delivering trees and pots for fellow Florida artists. (That’s a story for another Korner article.)
The scale of bonsai in the U.S. can’t support an expensive convention center, so having a single national event at all is an achievement. The first two National Exhibitions were held in a hospital conference room, then moved to an indoor soccer arena as crowds grew—eventually so large the fire marshal capped attendance. Over time, Bill’s team created elegant display backdrops, some with purple bunting to evoke tokonoma, and even added a viewing stone section (not really my thing, but appreciated by many).
This year’s show featured exceptional bonsai, almost all I’d never seen before—proof of the depth of talent in the U.S. A crabapple bonsai brought back memories of my grandfather’s farm in upstate New York, while the tropical trees always catch my eye. I admit I’m disappointed that no tropical has won the top award (besides “Best Tropical”) in the past eight years. Some have certainly been worthy, but tropicals still seem treated as second-class compared to traditional Japanese species. Still, awards are subjective—I focus more on the art than the prizes.
For me, the best part of the exhibition is always reconnecting with bonsai friends. We’ve all aged, but the friendships endure. I also met many new friends. Two days is never enough, but I treasure every conversation.
This year, personal photography was allowed—so here are a few photos. Huge thanks to Bill, his wife Diane Valavanis, and the whole team for pulling off another outstanding event.
