Dongyang wood carvings

Dongyang wood carving

DONGYANG, a city in the middle of ZHEJIANG PROVINCE near Shanghai, is famous for its woodcarving.  It is one of the major centres of woodcarving production of the MING (1368 – 1644) and QING (1644 – 1911) Dynasties to the present day.  Woodcarving in DONGYANG had already developed to a certain level by the  last two feudal dynasties ——— the MING and the QING.

Dongyang wood carving

The magnificent woodcarvings can be found in the Imperial Palaces of Beijing, Suzhou City, Hangzhou City and Anhui Province.  During the reign of Qing Dynasty Emperor ZIANLONG (1711 – 1799), over 400 craftsmen came to the capital of Beijing to decorate the Palaces and carve the lanterns.  Those woodcarving articles are still kept in GUGONG, the Imperial palace in Beijing.

After 1910, many carvers from DONGYANG gathered in Shanghai and Hangzhou to produce export-oriented furniture and utensils combining Chinese and Western styles.  Since the founding of the PRC, highly artistic frescoes and screens appeared on the market with the rapid development of technology.  These works, focussing on historical stories and folk legends were designed using the FULL CARVING technique, which formed a unique artistic style.

Dongyang wood carving

In 1957, a 19-metre-high wooden statue of SAKYAMUNI BUDDHA was sculpted for the main hall of LINGYIN TEMPLE in Hangzhou.  In 1983, DONGYANG City was named “the hometown of Chinese woodcarving” by the State Council.

The artistic forms of DONGYANG woodcarving, with distinct gradations and superb carving technology, are unique in the handicraft and art fields.  DONGYANG woodcarving, also called WHITE WOODCARVING (white is the natural colour of the wood) is second to none in terms of Chinese crafts.  In terms of techniques, DONGYANG woodcarving features a high relief, multi-layers and a rich composition of pictures, presenting the third-dimension, full yet in neat order.

Dongyang carving china

DONGYANG woodcarving emphasizes relief-skill, uses the traditional experience of a discreet bird’s-eye perspective of the structure, stresses round composition, considers dispersion and multiplicity without looseness or disorder.  Moreover,, it has other features  such as distinct gradations, obvious subject and expressive plots which often help to tell a larger story.

Dongyang carving on wood

DONGYANG woodcarving is mainly used to decorate houses and furniture with mainly realistic depictions of galloping horses, cranes, lotus flowers and human beings.  Nowadays, the assortment of DONGYANG woodcarving products amount to more than 2,700 varieties ———- most of which ———– covering 90% of the total output value ———- are daily wares such as cases, cabinets, stools, desks and tables.  They are exported to over 50 countries and regions, while involving thousands of craftsmen in that industry.

Dongyang wood carving process


Warli paintings


The WARLIS are an indigenous tribe living in mountainous as well as coastal areas of Maharashtra-Gujarat border and surrounding areas.  They speak an unwritten WARLI language, classified as KONKANI, with some degree of influence from GUJARATI.  They have their own animistic beliefs, life, customs and traditions as a result of acculturation they have adopted many Hindu beliefs.

In the Book : THE PAINTED WORLD OF THE WARLIS, Yashodhara Dalmia, claimed that the WARLIS carry on a tradition stretching back to 2,500 or 3,000 BCE.  Their mural paintings are similar to those done between 500 and 10,000 BCE in the Rock Shelters of BHIMBETKA, in Madhya Pradesh.


Everything about WARLI is earthy and soothing.  It takes you back to the paintings’ provenance, where you could almost smell the wet soil, feel the touch of the calloused hand that painted the background and admire the meticulous brush strokes of the rural artist who created the masterpiece.  WARLI paintings succeed in adding elegance  to a rural hut or a five-star hotel lobby with the same charm.
No wonder designers were so enthralled by the ‘art form’, that they decided to create an entire line of dresses based on WARLI paintings.  Designers have used very traditional patterns, rich and folksy colours to create the magic.  
Their extremely rudimentary wall paintings use a very basic graphic vocabulary : a circle, a triangle and a square. Their paintings were monosyllabic : The ‘circle’ and ‘triangle’ come from their observation of nature, the ‘circle’ representing the ‘sun’ and the ‘moon’, the ‘triangle’ derived from ‘mountains’ and ‘pointed trees’.  Only the ‘square’ seems to obey a different logic and seems to be a ‘human invention’, indicating a ‘sacred enclosure’ or ‘a piece of land’.


So, the central motive in each ‘ritual painting’ is the ‘square’, known as the CHAUK or CHAUKAT, mostly of two types. : DEVCHAUK & LAGNACHAUK.  Inside a DEVCHAUK, we find PALAGHATA, the Mother Goddess, symbolizing ‘fertility’.  Significantly, Male Gods are unusual among the WARLI and are frequently related to ‘spirits which have taken human shape’.

The central motive, in these ‘ritual paintings’, is surrounded by scenes portraying hunting, fishing and farming.  Human and animal bodies are represented by ‘two triangles joined at the tip’ : the Upper Triangle depicts the “trunk” and the Lower Triangle the “pelvis”.  Their precarious equilibrium symbolises the balance of the Universe, and of the couple, and has the practical and amusing advantage of animating the bodies.

Warli Art music

The pared down pictorial language is matched by a rudimentary technique.   The ‘ritual paintings’ are usually done inside the huts.  The walls are made of a mixture of branches, earth and cow dung, making a RED OCHRE background for the wall paintings.  Their white pigment is a mixture of rice paste and water with gum as binding.  They use a bamboo stick, chewed at the end to make it as supple as a paintbrush.  The wall paintings are done only for special occasions such as weddings or harvests.  The lack of regular artistic activity explains the very crude style of their paintings, which were the preserve of the womenfolk until the 1970s.  But, in the 1970s, this ‘ritual art’ took a radical turn when Jivya Soma Mashe and his son, Balu Mashe started to paint, not for any special ritual, but because of his artistic pursuits.  WARLI paintings also featured in Coco-Cola’s COME HOME ON DIWALI ad campaign in 2010, and was a tribute to the spirit of India’s Youth and a recognition of the distinct lifestyle of the WARLI Tribe.

Warli art decor

WARLI ART is Cultural Intellectual Property of the tribal community.  Today, there is an urgent need for preserving this traditional knowledge in tribal communities across the globe.  Understanding the need for Intellectual Property Rights, tribal non-profit organisation ——- ADIVASI YUVA SEVA SANGH ———- initiated efforts to start a registration process in 2011.  Now, WARLI PAINTING is registered with a Geographical Indication under the WARLI ART FOUNDATION, a non-profit Company dedicated to WARLI ART and related activities.

A painter’ paradise

Antibes town

ANTIBES is an art haven in sunny Southern France.  There’s a whole bunch of activities and sights that await you in this art town.


After all, Impressionists such as Manet, Monet, Van Gogh, Cezzane and Matisse flocked here for the southern sun, studies of light and joie de vivre.  So, if you are a visual junkie, get ready to soak in the historical delights.

Antibes yachts

You can follow an “artist trail” or just visit the innumerable historical art museums such as FOUNDATION MAEGHT, the best of all modern art museums in the area.  The place boasts of great sculptures, especially those by Miro, in a building that is very pleasant.

Antibes streets

Another interesting one is the POSTCARD MUSEUM.  As the name suggests, it houses numerous postcards that show the history of the place.  Other museums include Matisse Museum, Museum of Asian art and Espace de l’Art Concret to name a few.

Antibes museum

The biggest draw for art enthusiasts is of course, the Picasso Museum.  The artist lived in Antibes and Vallauris in 1949.  It was apparently one of the happiest periods of his life, when he was in love with a woman and with the Riviera sun and it shows in his paintings ——- great settings, an old castle and the sea front.

Picasso museum

Antibes, where the museum stands, is at quite another pace (from Cannes).  As the evening sets in, the markets are abuzz with a variety of things on sale ranging from designer jewellery to pickled olives, sun-dried tomatoes and more.  There is lilting music playing in the backdrop by street musicians, little boys jiving with their mothers and the Church bell reminding you of every passing hour.

Antibes street

A little art gallery dares to position itself directly opposite the massive castle that houses the Picasso Museum.  The brave owner is an Indophile and a yoga enthusiast.  Friendly and warm, she guided us to the best café on the sea.  It overlooks the large walled walkway that stretches for more than a kilometre.  This historic wall is a visual delight, as its brown textured brick work towers over the Mediterranean blue.  Order a four-course meal here and wash it down with a house rose for 36 Euros.

Antibes downtown

Antibes draws inspiration from Greek culture as well because the Musee Picasso (the first official Picasso Museum), formerly known as the Chateau Grimaldi, is built on the lines of the foundations of the ancient Greek town of Antipolis.  As you walk up the stairway, you realise that these are by far some of the oldest steps you’ve ever walked on.  Picasso lived and worked here for six months before he donated his works to the museum.  His most notable paintings THE GOAT & LA JOIE de VIVRE are on display here.

Antibes street view

In 1990, his daughter Jacqueline Picasso offered many more of her father’s works to the museum.  These included four paintings, ten sketches, two ceramic works and six etchings.  Today, there are in all 245 works by Picasso housed here, all of which depict his love for the Mediterranean  ——— the sea plays a metaphor in several of his works.

One would think that three days are enough in this place.  You have to stay for some more time to savour the bliss and history of this special art town.
———— Anjali Bhushan.  

Feng Shui

Feng Shui

Since ancient times, FENG SHUI was used from town planning to building mega structures and this Art of Divination was practised by scholars from Taoism, the proponents of which were FANG-SHIH.  FANG means formula, method or technique and SHIH means exponent or practitioner.  Technically the name means “those who are experts of the esoteric techniques.”
Later it further developed into a more scientific base with the invention of the compass during the Ch’ing dynasty which became the science of studying energies —- FENG SHUI.
The art of FENG SHUI enables you to select good property where the “chi” is not affected and the luck not blocked by harmful structures.  For an existing property, the FENG SHUI guidelines enable corrections and activate the good energy of a place through corrections, symbolism and identifying the danger zones.  In other words, FENG SHUI enables you to custom design your ‘luck’ and make you move towards your aspirations by fine-tuning the ‘chi’ (energy) around you.

Feng Shui chart

From a FENG SHUI perspective we can discern various kinds of property, some, which possess intrinsic good energy and fortunes, which benefits everyone’s life.  There are certain areas and neighbourhoods, which tend to have better FENG SHUI and prosperity than other neighbourhoods.  The effect of surroundings and the layout and planning of the locality is the key to this kind of prosperity.


For centuries people in the eastern countries relied on the skills of a FENG SHUI master to assess and guide the energy to activate prosperity and good health.  Even the business community consults FENG SHUI masters in choosing offices, business locations, interiors, décor and also auspicious colours and motifs for their corporate identity and logo.


Oriental medicine and philosophy are based on the premise that along with all the physical aspects of our world there is a movement of a subtle flow of energy.  This is called Chi.  Chi energy flows into our bodies much the same way as blood, but while your blood carries oxygen and nutrients, Chi energy carries your thoughts, ideas, emotions and dreams.  It is important to realize that your thoughts and emotions affect the quality of your Chi energy, as the Chi energy directly affects each of your cells, which could affect you physically.  It is said that Chi energy extends 10cms to 1metre outside your skin and mixes with the surrounding energy.  Hence one can be easily affected by the change of energy in the exterior environment too.


To begin the physical process of changing the energy in your space, take stock of what you have in and around your home.
** De-clutter your ‘space’ to allow unhindered flow of energy, recognize the contributions you need to make to another when you release items you no longer want or need.
** De-clutter your ‘mind’, review your possessions and discard items that no longer hold value   for you with the clear intention of releasing the old thoughts, beliefs and emotions attached to them.
** Identify the ‘zones’ in your home where you feel disturbed.  Introspect if you have been having sleepless nights, arguments or financial issues.
** Check if any ‘additions’ in your home in the form of artefacts, décor, re-locating furniture or change of décor have triggered negative vibes.
Analysing your home or office can reveal the trouble spots and may call for professional advice.  However, the primary approach of listing the feel of the space, identifying the problem areas intuitively and based on experience cold help in mitigating the problem.
——— S BS Surendran (FENG SHUI and VASTU consultant.)


AMIGURUMI, literally “crocheted or knitted stuffed toy” is the Japanese art of “knitting” or “crocheting” small stuffed animals and anthropomorphic creatures.  The word is derived from a combination of the Japanese words ——- “AMI”, meaning “crocheted or knitted”, and “NUIGURUMI”, meaning “stuffed doll”.  AMIGURUMI are typically animals, but can include artistic renderings or inanimate objects endowed with anthropomorphic features, as is typical in Japanese culture.
amigurumi 1While AMIGURUMI have been popular in Japan for several decades, AMIGURUMI first started appealing to the masses in other countries, especially in the West, in 2003.  By 2006, AMIGURUMI were reported to be some of the most popular items on ETSY, an online craft marketplace, where they typically sold for $10 to $100.  Since then, popularity has continued to increase.
amigurumi tutorialThe pervading aesthetic of AMIGURUMI is “cuteness”.  To this end, typical AMIGURUMI animals have an “over-sized spherical head” on a cylindrical body with “undersized extremities” usually termed CHIBI style outside of Japan.  AMIGURUMI may be used as children’s toys, but are generally purchased or made solely for “aesthetic purposes”.
amigurumi_giraffeAMIGURUMI are usually “crocheted” out of yarn using the “single crochet stitch” (double crochet in UK crochet terminology).  They can also be “knit”.  AMIGURUMI are usually worked in sections and then joined, except for some AMIGURUMI which have no limbs, only a head and torso which are worked as one piece.  In crochet, AMIGURUMI is worked in “spiral rounds”, in order to prevent “striping”, a typical feature of joining crochet rounds in a project.
Crochet hooks or knitting needles that are slightly smaller than one would use in a typical project are used, in order to achieve a tight gauge that retains stuffing and does not allow the stuffing to show through the fabric.  Stuffing is usually standard polyester or cotton craft stuffing, but may be improvised from other materials.  Plastic pellets may be inserted beneath the stuffing in order to distribute weight at the bottom of the figure.

Art with a purpose


If Jason DeCaires’ “Haunting Underwater Sculptures” don’t give a much-needed boost to tourism in Mexico, I don’t know what will.  His work has pretty much blown out of the water (pun intended) anything that is exhibiting at the Paris FIAC Art Fair.  The sculptor and scuba diver who grew up in Europe and Asia to an English father and Guyanese mother, has been causing quite a stir in the media with his newest, largest and most chilling installation yet :  403 life-size human sculptures, spanning 420 square metres of barren sea-bed.


The location is Cancun, Mexico in the National Marine Park, where coral reefs are suffering from being over-fished and over-visited.  DeCaires’ “haunting” but “hypnotizing” underwater art will not only serve as a “visual treat” for divers, but, more importantly and beneficially as a diversion from the natural reefs in the park, which need a chance to “recover” and “rejuvenate”.  “THE SILENT REVOLUTION” will effectively double as an artificial reef, attracting fish and marine life to “colonize the sculptures.”  ———-“It’s incredibly interesting working underwater,” says DeCaires.  “The colours are different, the atmosphere and mood is “otherworldly.”  The piece takes on a very different tone underwater ———it has a lost feel to it and brings up all these questions that you wouldn’t have on land.”


Only about 10%-15% of the world’s sea-bed has a solid enough sub-stratum to allow reefs to form naturally.  DeCaires is not the first marine enthusiast to build an artificial reef, but he is certainly the first to incorporate the idea into an “artistic expression.”   Using a special cement-mix to encourage and attract coral growth, his various projects, around the world, are contributing to a progression which other artificial reefs have proven can successfully support entire marine ecosystems.
He says, “There are “physical” and “optical” considerations that must be taken into account.  Objects appear 25% larger under water, and, as a consequence, they also appear closer. ——- Here is a list of his older projects :


(1) VICISSITUDES —– (depth 5 metres) Granada :—–” The large number of angles and perspectives fro which the sculptures can be viewed, increase dramatically the unique experience of encountering the works,” says DeCaires.  “There are life-size casts taken from a group of children of diverse backgrounds.  “Circular” in structure and located 5mts below the surface, the work both withstands strong currents and replicates  one of the primary geometric shapes, evoking ideas of “unity and continuum.”  You can see how drastically the sculptures evolve from unique art designs to functioning and well-adapted members of a marine society, from clearly-defined and sculpted faces to almost unrecognizable figures engulfed by the swallowing reef.


underwater-sculptures-artist-jason-decaires-taylor-artificial-reefs-26 (1)


(2)  MAN ON FIRE (depth 9mts) Isla Mujeres, Mexico —— This statue which weighs over 1 ton, is cast from a local Mexican fisherman called Joachim.  The cement statue has 75 holes drilled and has been filled with real cuttings of “fire coral” known to the scientific world as “millepora alcicorni”.  This particular coral is a very fast-growing marine organism.  DeCaires has named this sculpture MAN ON FIRE, because of the yellow, amber and brown colours of the coral, which when touched, leaves the curious with a ” painful stinging sensation.”  The artist anticipates that, with time, his MAN ON FIRE will indeed appear to be on fire underwater.  Ever the environmentalist, DeCaires sourced the “fire coral” from fragments damaged by human intervention or by violent storms.  DeCaires has also artificially grown some of the corals.




(3)  THE ARCHIVES OF LOST DREAMS (depth 9mts) Isla Mujeres, Mexico : —- DeCaires placed the ARCHIVES OF LOST DREAMS in an area of the Mexican National Marine Park, specifically where marine life has been damaged by passing hurricanes and tropical storms.  The sculpture is intended to lure away the park’s 750,000 yearly visitors from other sections of the surrounding pristine reef allowing space to recover and develop naturally.  The underwater scene depicts a man and his dog, who guard a collection of messages in bottles.  The 100s of messages, being preserved in bottles, are, in fact, real messages from various communities of different ethnic, religious and cultural backgrounds.  DeCaires invited these communities to provide the messages which he hopes will chronicle present-day principles, beliefs and aspirations for future generations to discover.


(4) THE LOST CORRESPONDENT  (depth 8mts) Granada : —– DeCaires’ works have an incredibly “ghostly feel” to them reminding one of remains from sunken ships or the ash-covered bodies from the Roman city of Pompeii following the catastrophic volcanic eruption.  The desk is covered with a collection  of newspaper cuttings that date back to the 1970s, detailing Granada’s alignment with Cuba in the period immediately prior to the Revolution.

Grandma Prisbrey’s Bottle Village

Bottle Village

Grandma Prisbrey’s Bottle Village also known as Bottle Village is a folk art piece, located in Simi Valley, California.  The assemblage is one of California’s “20th Century Folk Art Environment”.  In 1956, Tressa Prisbrey, then 60 years old, started building a “village” of shrines, walkways, sculptures and buildings from recycled items and discards from the local landfill.  She worked for 25 years, creating one structure after another to house her collections.


BOTTLE VILLAGE is California Historical Landmark Number : 939.  It is also Ventura County Cultural Landmark and has historic designation from the City of Simi Valley.  It was listed in the National Register of Historical Places in 1996.  It was officially closed in 1984 and severely damaged during the 1994 Northridge Earthquake.  In 1996, 2 years after the earthquake, and still in ruin, it was placed on the National Register of Historic Places.
In 1946, Tressa Luella Schaefer moved into Santa Susana, California, now known as Simi Valley, California, where she met her husband, Al Prisbrey who bought one-third of an acre located on Cochran Street..  They then bought a trailer to live in and removed the tyres and hid them in an effort to stay grounded on the lot.

Bottle house

When Tressa first moved here, she had a large collection of 17,000 pencils, which had previously been her hobby.  In an effort to find a place to put them, she decided she wanted to make a house for her pencils to stay.  She began looking around to buy cinder-blocks to build with but came to discover the prices were out of her range.  She stumbled upon a dump where she realized that bottles would be perfect to build with.  When she came back home, there were 1,000,015 bottles with her.  She began going to her sister, Hattie’s house and made cement by hand and built her 1st “bottle house”.  This is when Bottle Village began to take form.  Grandma Prisbrey mentioned she did not build to gain attention, but as an outpost as well as a place to keep all of her things.  She was very much a “collector” as well as a “recycler”.  She was interested in the fact that everything has a purpose and is special and unique and that is exactly what she brings to Bottle Village, not just in the visuals but the overall feeling you receive from being present.
The Village was very much established by 1961, but Grandma kept adding structures and tweaking into the 1980s.  She moved away in 1972, but came back later to live in a trailer alongside the Village, where she continued adding sculptures and flower planters.  She again left the Village due to failing health in 1982 at the age of 86, and took residence with her sole-surviving child (0f the 7 she had had) in San Francisco.  In July 1986, the property was “gift-deeded” to the Preserve Bottle Village Committee.  Tressa Prisbrey passed away in 1988.

bottle village 063

Tressa’s original idea was to build a wall to keep away the smell and dust of the adjacent turkey farm and to simply create a structure where she could store her 17,000 commemorative pencils.  She and her husband had spent all their money paying for the property, so she resorted to visit a local dump where she found 1000s of coloured bottles.  She continued to build until she had constructed 16 buildings, and structures made of glass and other assorted materials, a mosaic sidewalk, the “Leaning Tower of Bottle Village”, the “Dolls’ Head Shrine”, Cleopatra’s Bedroom”, the “Round House” and more.  The Los Angeles Times described Bottle Village as an “eccentric folk art wonderland”.
Bottle Village is seen by art historians and folklorists as a complex work combining the desires of an elderly lady to provide simple shelter for her valued personal collections, memorialize family, friends and important life events, grieve over the loss of family members, entertain visitors and leave behind a testament to her personal vision, exuberance and inspiration.  To National History, Bottle Village is important because it is a significant “folk art environment”  created by an American folk artist of high acclaim and also because it is a “rarity” created out of actual mass consumer throwaways from everyday lives of Americans of the late 1950s and early 1960s.

bottle village 038

When building Bottle Village no help was given and everything was built manually and from recycled materials.  One of the shrines that can be seen at Bottle Village is called “The Headlight Garden”.  This garden was made for her then 35-year-old daughter who had been diagnosed with cancer.  Her daughter loved flowers, so Tressa decide to make a “rose garden’ out of headlights and recycled materials.  Before her daughter’s passing, she would love to wake up every morning and sit by the garden in silence.  According to Tressa, the day her daughter died, “the headlights stopped working”.
 On the walkway there are “hearts’, “diamonds” and “spade” stepping stones that symbolize that Tressa was in love with gambling.  She made the forms out of cement, but then filled them with random recycled things.  Bottle Village offers not just buildings made out of bottles but also has its own theme.  For example, a “doll house” was built to house Grandma Prisbrey’s doll collection of 600 dolls.

Built: 1956 - 1972 "I enjoyed it. I never thought of it as work. I was just having a good time." In 1956 at the age of 61, Tressa "Grandma" Prisbrey started building the Bottle Village as a place to display her pencil collection. When finished in 1965, the Village included 20 sculptures and 13 buildings. Grandma Prisbrey died in 1988.  In 1996, Grandma Prisbrey's Bottle Village was listed on the National Register of Historic Places. It's now run by Preserve Bottle Village (PBV), a private non-profit organization.  (excerpted from their website)

“Anyone can do something with a million dollars.  Look at Disney,” Tressa once said, “But it takes more than money to make “something out of nothing”, and look at the fun I had doing it.”  When visitors would come to Bottle Village, when Grandma Prisbrey was alive, she would first take them on a tour and end in her meditation room where she would allow them to meditate as well as listen to her sing different songs.  She would charge only “75 cents” a visit, but people would frequently give her more.
in 1994, the Northridge Earthquake struck 8 miles away and badly damaged Bottle Village.  Because of the severe damage, the Preserve Bottle Village Committee applied for FEMA funding, receiving almost US $500,000.  In 1997, the grant that had been awarded was lost after Councilwoman Sandi Webb and the Us Representative Elton Gallegly opposed it.  Gallegly called it a “waste of taxpayers’ money”.  Then Simi Valley Historical & Rancho Simi Recreation & Park District recently allocated about $150,000 to restore an apricot-pitting shed.  The City of Simi Valley also contributed at least $24,000 through Community Development Block Grant Funds to restore the 1920s wood shed with concrete pillars, a remnant of the area’s apricot industry.

Grandma Prisbrey's Bottle Village
Bottle Village is seen as “unique to the community”, a “treasure worth saving” and with the right amount of funds (estimated to be a few hundred thousand dollars)  and several months of dedicated restoration, it could happen.  The Bottle Village is in dire need of support and funding.  The late artist, Joanne Johnson, wrote, “The crumbling Bottle Village is an “ironic paradox” ——– built from castoffs, now cast aside”.
Preserve Bottle Village continues preservation efforts, speaking with private foundations.  It has received a few generous grants in the past 15 years from the Larry Janns — School of the Pacific Islands Foundation ($21,000), the Rothschild Foundation ($15,000) and the Gareth Evans —- Golden Rule Foundation ($15,000).  Bottle Village is undergoing huge repairs, and is not open to the public.  Preserve Bottle Village is a non-profit group that now owns and oversees the property.
The Bottle Village inspired a 32-page children’s book “Bottle Houses : The Creative World of Grandma Prisbrey” by Melissa Eskridge Slaymaker..  Tressa is commemorated every year during Halloween at the Simi Valley Strathearn Park Ghost Tour, which tells the History of Simi Valley in a very entertaining way.