NBF News
Brendan Bailes
Thanks for the support in 2024! Here's what's ...
Thanks for the support in 2024! Here's what's coming in 2025
Inside the Museum, Photographing Bonsai
Brendan Bailes
Our Best Bonsai Photos of 2023
Our Best Bonsai Photos of 2023
Apprentice, National Bonsai Apprentice, Curator's Apprentice Blog
Brendan Bailes
Letter from National Bonsai Apprentice Angelica ...
Letter from National Bonsai Apprentice Angelica Ramirez

Letter from 2024 National Bonsai Apprentice Isiah White

As I reflect on my experience as the 2024 National Bonsai Apprentice, I am overwhelmed with gratitude and a profound sense of growth. Thanks to the support of the National Bonsai Foundation, the National Bonsai & Penjing Museum, and the U.S. National Arboretum, I have gained invaluable knowledge and discovered a renewed confidence that will guide me for the rest of my life. This journey has not only deepened my understanding of the art of bonsai, but it has also transformed me as an artist and an individual. My time as the National Bonsai Apprentice will remain a golden milestone in my bonsai journey.

Just as it has enriched my knowledge of bonsai, this educational opportunity has enriched my knowledge of myself. From learning how to water efficiently to mastering the precise timing for pruning pine trees, every lesson has enhanced my skills and abilities. It has been an honor to be part of the talented team at this world-class museum.

One of the things I admire most is the attention to detail emphasized during my apprenticeship. By repeatedly performing the same technique on multiple trees of the same species, I learned to internalize the process, creating a natural response when working with other species of similar growth habits. For instance, my approach to a maple tree would be different from how I work with a pine tree; but I can apply the same pruning techniques to a beech as I would to a maple, since both are deciduous. This thorough understanding allows me to be more decisive and has elevated the quality and sophistication of my work.

The trust placed in me during this apprenticeship has been transformative, and it gave me a level of confidence I have rarely felt. In the past, I have faced doubt from others—particularly as a Black bonsai artist. I once told someone, “I am a Bonsai Artist,” only to have them laugh and reply, “Black people don’t do bonsai.” Encounters like that made me reserved and hesitant to fully show my potential. But at the museum, the staff’s belief in my abilities gave me the courage to step into my full self, as an artist and as a person.

One of my favorite tasks is pruning extended growth to redirect energy and refine a tree’s silhouette. Working on legendary specimens that many bonsai artists can only dream of is a real privilege. And seeing people admire the trees I worked on has been one of the greatest joys of my life. I’ll never forget the moment an entire family stood in front of a juniper I had just worked on, taking pictures and complimenting how beautiful the tree looked. Hearing their kind words about the work we do as bonsai artists gave me a profound boost of confidence and determination.

As my apprenticeship nears its end, I am filled with mixed emotions. I am honored and proud of my growth and success during this experience, but I will miss this place. When I first arrived, my biggest fear was that I might fail—despite my prior experience, I had never worked on trees of this caliber. But working alongside some of our nation’s greatest bonsai artists has strengthened my confidence and renewed my passion for this living art form even more. For that, I am deeply grateful.

My goal on this journey is to use the knowledge I’ve gained to pursue my dream of becoming a bonsai farmer. I believe the bonsai community in the United States needs an expert farmer who can provide high-quality material at a reasonable price. This apprenticeship has given me the confidence to take the next steps toward starting my own bonsai business, and soon I will be launching a company and online store to sell quality pre-bonsai trees. Meanwhile, I plan to continue my college education, focusing on botany. I have also been accepted into a Veteran Farmers Program, where I will gain skills that will directly improve my bonsai cultivation and growing practices.

I’ve found my focus in life, and that focus is the art of bonsai. Once again, thank you to the amazing people at the National Bonsai Foundation, the National Bonsai & Penjing Museum, and the U.S. National Arboretum for helping me rediscover who I am and what my purpose is.

Warmly,
Isiah White
2024 National Bonsai Apprentice

In Memoriam: Chris Cochrane

The National Bonsai Foundation (NBF) and greater bonsai community celebrates the life of 25-year NBF Board Member Chris Cochrane, who passed away at age 75 in Virginia at the end of December 2024.

Chris's interest in bonsai began early on when he majored in Eastern religions at the University of Virginia. He studied display aesthetics, tea ceremonies, and Japanese Garden Design in Japan, including a year at Kunio Kobayashi’s garden studio immersing himself in bonsai and suiseki.

In addition to his quarter-century tenure with NBF – including 12 years as NBF secretary – Chris served as secretary, treasurer, and president of the Richmond Bonsai Society. He was also a founding member and 18-year president for the Potomac Viewing Stone Group, and he co-designed their annual exhibitions at the U.S. National Arboretum.

Chris was also a catalyst in growing online bonsai communities, including the Internet Bonsai Club, the Viewing Stone Mail List, his Pinterest page, and NBF, where he helped set up the inaugural website in 2006.

He maintained personal collections of bonsai and viewing and garden stones, one of which was featured in the National Bonsai and Penjing Museum’s Chrysanthemum Moon Exhibit in 2007. Chris also contributed to Museum and NBF publication materials, including a profile on the La Bella Suiseki in one of NBF’s newsletters.

NBF Chair Emeritus and Former Museum Curator Jack Sustic has fond memories of collecting stones with Chris and the Potomac Viewing Stone Group.

“During my entire tenure as curator, Chris was a stalwart NBF board member,” Sustic said. “His commitment and generosity were testament to his love of the Museum. His friendship and level of passion and dedication will be sorely missed.”

Chuck Croft, a former NBF board member, worked with him for more than 30 years across numerous bonsai and suiseki organizations. Chuck said he was always the first to volunteer to help with shows.

“Chris invariably had a positive and kind approach to life and anything he encountered,” Croft said. “I could always count on him to light up the day.”

Felix Laughlin, NBF Chair Emeritus, remembers Chris whenever he walks through his garden, where he admires a suiseki they collected together.

“The NBF family has lost a beloved compatriot who has been pulling us and the Museum forward for most of the past half century,” Laughlin said. “A true leader of our viewing stone contingent, Chris made things happen with a positive attitude and a mission never defeated.”

Chris was happiest in a river searching for viewing stones with friends, hiking in the woods, doing research on Asian Aesthetics, and sharing what he had learned with others. Most of all, he loved his family and the people who share his passion.

Please feel free to add your memories in the comments below. You can also view Chris’s official obituary.
 

Thanks for the support in 2024! Here's what's coming in 2025

As we welcome the new year, we want to express our heartfelt gratitude for your support and passion for the living arts of bonsai and penjing.

This past year was filled with growth, connection, and creativity—all made possible by your unwavering support. Whether you attended an event, made a donation, or shared your love for bonsai with others, you helped us cultivate a thriving community. And through the incredible generosity of our committed donors, we exceeded our fundraising goals, including our ambitious end-of-year giving match challenge. We deeply appreciate everyone who contributed!

With your help, we accomplished a lot in 2024:

We played a role in welcoming distinguished visitors to Washington, DC throughout the year. Most prominently, we helped U.S. National Arboretum staff prepare an awe-inspiring display of bonsai for the state visit of Prime Minister of Japan Fumio Kishida, including many renowned masterpieces that were past gifts from Japanese artists and heads of state. These visits further elevate bonsai's global stature and highlight the ways that the art of bonsai can cross cultural boundaries and strengthen diplomatic connections.

We proudly sponsored the National Bonsai Apprentice, Isiah White, for an extended term with an increased stipend. This program ensures the traditions and techniques of bonsai are passed on to the next generation of up-and-coming bonsai artists.


World Bonsai Day brought together enthusiasts around the globe in a celebration of art and nature, and featured a Mayoral proclamation, exhibits and workshops from the Potomac Bonsai Association Festival, special guest artists, and fun activities. The energy from this event reminded us of bonsai's power to unite us across cultures and continents.

 

We completed a major project to replace all of the tree labels in the Museum, which over the years have become outdated, damaged, and inconsistently formatted. The new labels, which are professionally redesigned to provide a more uniform, more readable system with an improved look, will be installed early this year. You should be able to see them in person next time you visit!

 

The Washington City Paper's Best of DC recognized the National Bonsai Foundation as the "Best Arts and Culture Nonprofit" for 2024, thanks to your votes! The National Bonsai & Penjing Museum also earned "Best Place to Take an Out-of-Towner" for the sixth year in a row. These accolades reflect the growing recognition of bonsai as an important art form in the nation's capital.

 

The National Bonsai Foundation transitioned to a new Chair of the Board, welcoming Dan Angelucci to the role. Dan will help our organization build on successes and embrace new possibilities as we grow the art of bonsai.

 

We are excited for another great year with you in 2025! 

Stay tuned for updates on all of these initiatives and more:

  • We will continue to partner with the U.S. National Arboretum in support of the National Bonsai & Penjing Museum, providing ongoing training for expert curators and staff, creating new opportunities for dedicated volunteers, and maintaining a haven of peaceful reflection for thousands of visitors.
     

  • New exhibitions will showcase the artistry and history of bonsai, penjing, and viewing stones. Each display will offer visitors joyful inspiration and a chance to explore the stories behind these living masterpieces.
     

  • World Bonsai Day returns, promising another festive event full of connections and celebrations. In collaboration with partners like the Potomac Bonsai Association, we’re planning even more activities to bring the community closer to the art we love.
     

  • We’ll celebrate the 400th anniversary of the Yamaki Pine, a living testament to resilience, artistry, and the cultural significance of bonsai. This milestone will honor its phenomenal legacy and its extraordinary journey to the Museum.
     

  • National Geographic will publish a feature article on Goshin, sharing its story with millions. This feature will shine a spotlight on this incredible example of a bonsai forest and the dedication of its legendary creator, John Y. Naka, and subsequent caretakers.
     

  • A new National Bonsai Apprentice will join us for an immersive learning experience, continuing this nationally renowned training program. Their journey will inspire the next wave of bonsai practitioners and enthusiasts.
     

  • Renewed focus on volunteers, events, and education will strengthen our mission and impact. We’ll work together to expand access to the joy of discovery that bonsai offers to everyone.

Together, we are cultivating the arts of bonsai, penjing, and viewing stones. And we are nourishing our dynamic, creative community of passionate and compassionate people like you who love these living arts. Thank you for helping us protect and share this timeless art form.

Here's to a happy and successful 2025!

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Together, we are growing the art of bonsai

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I find myself returning to bonsai again and again to experience the serene joy they offer.

When I began photographing the collections at the National Bonsai & Penjing Museum two decades ago, I thought the project would have an obvious endpoint.

After my book of bonsai photographs was published in 2016, it seemed a natural place to stop.

And yet, I found myself returning to the museum month after month, year after year, to visit these trees that inspire me. The experience always gives me that “first time feeling” I once had more than twenty years ago: A sense of peace and admiration for the grace and beauty of these magnificent trees.

One of my favorite poems is this haiku from the 10th century by famed Japanese poet Bunya no Asayasu:

“In a gust of wind the white dew
On the autumn grass
Scatters like a broken necklace.”
— Bunya no Asayasu

This work marvels at the beauty of nature while remarking on its fleeting transience. Similarly, each trip to the museum, no matter how brief, enriches my lifelong experience of the place. I visit with my favorite trees, savor their seasonal changes, and admire the subtle growth of their branches over time.

When we talk about a “living art”, this is the unique gift it offers us: Natural artwork that evolves every day, with an ephemeral beauty which outlasts all of us, yet is impossible to capture permanently. The trees we see on display are not an end result, but part of a continuing conversation the talented artists have with their subjects.

The National Bonsai Foundation has a vital role in supporting this work. We train the next generation of bonsai practitioners, facilitate the acquisition of historic trees and viewing stones for the collections, and promote this legendary but niche art form.

With the support of our passionate, dedicated community, we will continue to partner with the museum, preserve the legacy of these trees, and ensure that they will flourish for generations to come.

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Photographing Bonsai with Stephen Voss: Trees in Transition

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By Stephen Voss

Stephen Voss is an accomplished professional photographer and member of the National Bonsai Foundation’s board of directors. His photographs are held in the permanent collections of the Library of Congress and the DC Commission on the Arts and Humanities.

For many years, Stephen has honored an annual fall tradition of visiting the National Bonsai & Penjing Museum at the U.S. National Arboretum. He strolls the serene grounds, taking remarkable photos of trees in transition. Below, he shares reflections from his most recent visit in November 2024.

Each fall season at the National Bonsai & Penjing Museum feels like an opportunity to learn something new about the colorful transition of vibrancy and change.

A wonderful Washington Post article outlined the life cycle of a leaf, and I was amazed to learn that as the leaves lose the chlorophyll that makes them green, they reveal their actual colors. That means that the fall colors we're now seeing have been there all along — waiting for this moment to set the museum alight.

The museum is never a static place, and on every visit I find a fascinating new discovery.

This time, I notice a sizable quince fruit hanging off a tree, and a beautiful selection of Chrysanthemums in the Vaughn Banting courtyard, outside of the exhibit space.

A profusion of tiny pollinators swirl around the garden mums along the Kato Family Stroll Garden, as small piles of leaves gather in the nooks and crannies of this peaceful place. The lack of rainfall this season has made for somewhat muted colors; there are more browns than oranges and reds, and we’ve had unusually warm days that maybe aren’t so unusual anymore.

For a long time, I came to the museum and went straight to the bonsai, drawn to their magnificence at the expense of the surrounding gardens. My photos for many years were close-up images, guided by minimalist tendencies. I still lean in that direction; but now, I’m also so taken by the interplay of the trees within the larger space, and how I might interpret these interactions visually. The whole of the museum contributes to the experience of visiting the trees.

Visitors pass through the exhibit space, murmuring questions about the trees and taking in their structural forms that are slowly revealed by the shedding of leaves. It occurs to me that not a day goes by at the National Bonsai & Penjing Museum when someone visits who has never been there before.

As the seasons change, the Museum changes too — revealing another unique chapter in the story of this special place and these incredible trees.

All photos © 2024 Stephen Voss. (Thank you, Stephen!)

Click any of the images below to enlarge it. You can scroll through the gallery using the arrow keys or by clicking the left or right icons.

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Seiji Morimae visits the National Bonsai and Penjing Museum

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We were recently honored by a visit from Seiji Morimae, a renowned figure in the world of bonsai and suiseki. Morimae holds special esteem at both the National Bonsai Foundation and the National Bonsai & Penjing Museum in Washington, D.C., which he has supported for many years.

Curator Michael James welcomes Yaeko and Seiji Morimae to the National Bonsai & Penjing Museum.

As a bonsai expert and board member of the Nippon Suiseki Association, he has made significant contributions to the preservation of Japanese bonsai culture. His deep connection with the museum, particularly as a donor and cultural ambassador, underscores his lasting impact.

Welcoming Seiji and his wife Yaeko for a tour of the National Bonsai & Penjing Museum, we honored his lifelong dedication to bonsai and suiseki while viewing the highlights of America’s renowned national collections. Dr. Richard Olsen, director of the U.S. National Arboretum – along with museum curator Michael James, and National Bonsai Foundation executive director Bobbie Alexander – were on hand to officially welcome the Morimaes. Jack Sustic, Chair Emeritus of the National Bonsai Foundation and Vice-Chair of the World Bonsai Friendship Federation, also joined the group in the welcome. Peter Warren, an international bonsai professional – one of the few who has completed a full six-year apprenticeship in Japan under legendary expert Kunio Kobayashi – accompanied the Morimaes and served as translator.

Among the highlights at the Museum is Morimae’s gift of a “hut stone” suiseki, displayed in the traditional tokonoma setting – a tribute to his commitment to preserving and sharing Japanese culture. He has also donated several first-class bonsai over the years. In the North American Pavilion, Michael discussed how American bonsai has evolved, inspired by influential leaders like Morimae. Dr. Olsen concluded with remarks on the museum’s role in advancing the art of bonsai in America, celebrating Morimae’s impact and support. The event ended with refreshments and reflections on his exceptional contributions to these timeless art forms.

credit: valavanisbonsaiblog.com

Morimae's journey into bonsai began more than 50 years ago with a dedication to the art of formal display, also known as keido. He has learned from and studied with revered bonsai artists, including Susumu Sudo, Jiro Fukuda, and Masahiko Kimura, who shaped his approach and artistry. His life has been deeply intertwined with the practice and philosophy behind these forms, and over the years, he has established multiple bonsai and suiseki businesses, including the prestigious Kyoto Bonsai Garden at the Daitoku-ji Temple in Kyoto, Japan.

His connection to the National Bonsai & Penjing Museum has spanned many years, where he has donated both bonsai trees and suiseki stones, helping to enhance the museum’s nationally renowned collections. He has visited the United States numerous times over the past 20 years to share his expertise on the arts of bonsai and suiseki.

credit: valavanisbonsaiblog.com

In 2017, during the renovation and rededication of the museum’s Japanese Pavilion, Morimae delivered a speech expressing his gratitude for the museum’s role in preserving bonsai trees gifted to the United States. He shared that these living symbols of friendship between Japan and America are more than just plants—they are a carrier of our stories, a marker of our time, and a reminder of nature’s elegant resilience​.

“This is the magnificence of life,” Morimae said. “I believe that bonsai can teach us about our own lives.  Each of them tells its own humble story, woven of nature, human history, and time itself.”

Seiji Morimae’s presence at the museum is not just symbolic; it speaks to his deep sense of responsibility. As a figure of great respect in the bonsai community, he often plays the role of a "big brother," checking on the museum’s Japanese bonsai collection, much like the revered Saburo Kato before him. This support has helped the museum maintain a high standard of care and presentation, ensuring the continued vitality of its bonsai and suiseki displays.

Morimae’s dedication to bonsai has also been captured in various media, including the U.S. National Arboretum’s Bicentennial Bonsai film. His passion for bonsai and suiseki extends beyond physical preservation; it is about sharing a philosophy of life that bonsai can teach us—about resilience, growth, and the delicate balance between nature and humanity.

Seiji Morimae at the National Bonsai & Penjing Museum in 2024.

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Chin Fun Kwok and his family honor the Museum with a special visit

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Today, the National Bonsai Foundation and National Bonsai & Penjing Museum welcomed Chin Fun Kwok, along with his wife Florence and daughter Daphne, to celebrate his venerated legacy.

In attendance were Museum Curator Michael James and NBF executive director Bobbie Alexander, who presented Mr. Kwok with a certificate of appreciation on behalf of the NBF Board, honoring his dedication and significant contributions. James also presented a certificate on behalf of the U.S. National Arboretum, which has housed the Museum since its inception in 1976. Also joining the celebration were esteemed former NBF board members Chuck Croft and Joe Gutierrez, as well as Jack Rubenstein, an active bonsai community member and officer of the Northern Virginia Bonsai Society.

Together, we proudly honored Mr. Kwok for his remarkable dedication and countless contributions to bonsai and penjing. Over his 25-year tenure on the NBF Board, Kwok’s leadership, expertise, and love for the art form have left an indelible impact. His engineering insights were instrumental in the design and construction of the Museum’s Chinese Pavilion, which now houses the treasured penjing collection.

The Pavilion, brought to life by Chinese craftsmen, features traditional wooden gates, decorative tiles, a serene moon gate, garden stones, and an exquisite dragon wall. Each winter, it transforms into a walk-in cold frame to shelter temperate bonsai from harsh weather, a practical feature blended seamlessly into its elegant design. Above the towering red doors, golden Chinese characters welcome visitors, inscribed with a message that Mr. Kwok translated for us: "The Garden for the Study of Ornamental Horticulture." This message captures the Pavilion’s essence—a place of learning and appreciation of nature’s beauty.

The Kwok family’s legacy extends further through a special bonsai stand donated in Mr. Kwok’s honor, handcrafted by David Knittle, a distinguished bonsai display artisan whose work is celebrated in national exhibitions.

NBF and Museum staff are deeply grateful to Mr. Kwok for his generosity, vision, and dedication, which have enriched the Museum and inspired the bonsai community.

Announcing a transition on the Board of Directors

After three years of dedicated service, our Chair of the Board Richard Kahn is transitioning from his role. His contributions over the years have been notable, including leading the board out of the pandemic, helping to initiate a Federal advocacy effort, establishing an annual financial gift to support operational and educational efforts for the National Bonsai & Penjing Museum, and helping to secure a significant gift of suiseki (known as viewing stones or scholars' rocks). We are grateful for his leadership and the impact he has had on our organization and the bonsai community at large.

As we move forward, Dan Angelucci has been appointed as Chair of the Board. Dan has been a passionate board member since 2018, serving as Secretary-Treasurer elect and on the Executive Committee for the past two years. His dedication to bonsai spans nearly four decades, and he is currently a member of the American Bonsai Society and the Pittsburgh Bonsai Society and is a past member of the Ann Arbor Bonsai Society of Michigan.

Dan's love for bonsai is deeply rooted, and he brings a wealth of knowledge and experience to NBF. He is committed to promoting the arts of bonsai, penjing, and suiseki; partnering with the U.S. National Arboretum to support the National Bonsai & Penjing Museum; and working to cultivate recognition of, and appreciation for, the art of bonsai in America. As Chair, he will guide us through an exciting new chapter, helping to ensure that this remarkable living art form continues to inspire and educate future generations.

We look forward to continuing our work together under Dan’s leadership. Please join us in thanking Richard for his service on the board, and in welcoming Dan to his new role!

Dan Angelucci, second from left, helps cut the ribbon at the opening ceremony of the 8th annual U.S. National Bonsai Exhibition in Rochester, New York.

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Curating Bonsai: What I Learned on a Work Study Journey

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The National Bonsai Foundation is proud to partner with the U.S. National Arboretum in maintaining the National Bonsai & Penjing Museum. In addition to caring for these living masterpieces, we support the museum’s expert curators with ongoing education and professional development, ensuring they stay at the forefront of bonsai artistry. These opportunities allow them to refine their skills, explore the latest techniques, and continue growing as leaders in their field.

In this post, Andy Bello, Assistant Curator (and our 2019 National Bonsai Apprentice), shares insights from a recent experience that helped shape his approach to bonsai care and curation.

Last winter, I had the wonderful opportunity to spend two weeks in Portland, Oregon, traveling to work and learn with a focus on fall and winter seasonal bonsai techniques. Part of my time was spent at Crataegus Bonsai, owned by bonsai professional Michael Hagedorn. Michael is a well-respected bonsai artist and teacher who apprenticed with Shinji Suzuki in Obuse, Japan from 2003-2006. He serves as the Bonsai Consultant for the Portland Japanese Garden, teaches international students at his garden, and blogs weekly at crataegus.com.

I remember my first time seeing a specific bonsai in person at the Portland Japanese Garden in 2017, my first year practicing the art. Walking to the upper bonsai courtyard, I was greeted by a large mountain hemlock planting growing on a slab. It was so large, in fact, that it was displayed on a small wooden stand on the ground, and the tallest tree stood about six feet tall. This composition was the first of this size and refinement I had seen. Its long, elegant trunks reached up and out towards the sky, with lush green foliage artfully arranged to give windows into the interior of the composition, telling the tree's story. This piece changed everything for me—it solidified my love for bonsai and encouraged me to pursue the art form as more than just a hobby.

Six years later, as the assistant curator at The National Bonsai and Penjing Museum, I found myself standing in Michael’s garden on a work trip, pruning my favorite tree. It felt as if my life in bonsai had come full circle. For the time I worked on that tree, I was in pure bliss, and I will never forget that wonderful feeling. But as anyone who practices bonsai knows, there is always more to be done and more trees to work on and care for.

During my time at Crataegus Bonsai, I studied some of the fascinating compositions Michael has created over the years. Some of the ones that stood out to me were planted at inclined angles or mounted on the side of walls, combining traditional Japanese bonsai with modern, innovative ideas. His garden left a lasting impression on me—it showed that we need not be limited by the container or a particular style we are accustomed to following. There is endless opportunity, and ample room to be playful and enjoy the creative process.

The second half of my time in Portland was spent at Rakuyo Bonsai, owned and operated by Andrew Robson. Andrew is an award-winning deciduous artist in the American bonsai community. He completed a three-year apprenticeship with Michael Hagedorn after graduating from Yale University. Andrew also studied shohin bonsai display with Daisaku Nomoto, an award-winning Japanese shohin master and judge at Gafu-ten. He serves as the President of the Bonsai Society of Portland, the largest bonsai club in the United States, and regularly exhibits work at the Portland Japanese Garden, where he also lectures at the Japanese Arts Learning Center. Andrew hosts the Bonsai Wire Podcast and regularly creates new episodes with other prominent figures in the bonsai community. He resides at his deciduous garden, Rakuyo-en, with his golden retriever Bailey, where he teaches and shares the art of deciduous bonsai.

The main reason I wanted to work with Andrew was his focus on deciduous bonsai and the quality and size of the specimens in his garden. At The National Bonsai and Penjing Museum, I’ve become accustomed to working on larger trees, so I felt right at home at Rakuyo with its variety of well-cared-for material. From trees in the early stages of development to award-winning specimens in refinement, there was something interesting to view, study, and learn from throughout the garden. Inside, sheltered from the cool, constant rain of the Pacific Northwest, we focused on fall and winter cleanup, caring for deadwood, pruning, and styling. We also enjoyed engaging conversations about techniques, the art form, and its future—always with Bailey, the bonsai dog, close by.

Most of the work we completed was wiring and pruning for shape and structure on a variety of species such as Stewartia, hornbeam, beech, and maples. Late fall and winter are ideal times to do this type of work, as the leaves have fully changed color and fallen, making it much easier to see and apply wire to the branches. After wiring, we placed the trees in front of a clean backdrop to photograph, discuss, and adjust the branch positions.

Working at Rakuyo with Andrew was educational, inspirational, and pure fun. His focus and dedication to teaching, growing, and learning more about deciduous bonsai inspires me to continue cultivating more varieties of trees and expanding my techniques.

I am very grateful and honored to have spent time working with both Michael and Andrew, and I look forward to working on trees with them again in the future. Thank you to The National Bonsai Foundation for supporting my continued education in this timeless art.

Best Arts & Culture Nonprofit in DC

We are thrilled to announce that the National Bonsai Foundation won Best Arts & Culture Nonprofit in Washington City Paper’s Best of DC Readers’ Poll 2024.

In addition to this incredible honor, The National Bonsai & Penjing Museum and the U.S. National Arboretum also racked in their fair share of wins as well. See the full list below.

And if you voted, we thank you very much for helping more people discover the beautiful art form of bonsai.

NATIONAL BONSAI FOUNDATION
Best Arts & Culture Nonprofit - Winner

THE NATIONAL BONSAI & PENJING MUSEUM

Best Place to Take an Out-Of-Towner - Winner

Best Place to Meditate - Winner

Best City Escape - Finalist

U.S. NATIONAL ARBORETUM

Best City Escape - Winner

Best Place to Go for a Walk - Runner-Up

Best Place to Meditate - Runner-Up

Best Place to Take an Out-Of-Towner - Finalist