A year after the destructive wildfires ravaged Los Angeles, a poignant art exhibition at Marta gallery showcases wooden furniture made from salvaged trees, transforming remnants of devastation into symbols of hope and community spirit. This collaborative effort by local designers not only highlights creative resilience but also actively contributes to the rebuilding of affected neighborhoods.
Rebirth Through Craft: The LA Wildfires Commemoration Exhibition
In January 2025, catastrophic wildfires engulfed various parts of Los Angeles, particularly devastating the communities of Altadena and the Pacific Palisades. The fires claimed 30 lives and destroyed over 16,000 homes and structures, leaving behind widespread destruction and sorrow.
Exactly one year following this tragic event, the esteemed Los Angeles design and art gallery, Marta, unveiled a powerful group exhibition titled 'From the Upper Valley in the Foothills.' This unique showcase, running until January 31, 2026, features exquisitely crafted wooden furniture. Each piece is meticulously made from trees that were cleared from Altadena in the aftermath of the Eaton Fire.
Organized in partnership with the celebrated sculptor and designer Vince Skelly, the exhibition is a profound tribute to the resilience and regenerative potential inherent in both wood and the indomitable spirit of Los Angeles' communities. Skelly emphasized his vision for the show to be a genuine community response, leading to the participation of two dozen local designers, each with their own personal experiences of the fires.
These talented makers collaborated with Angel City Lumber, a local enterprise dedicated to sourcing fallen trees for community-focused projects. The lumber mill supplied various types of wood cleared from Altadena, including Aleppo pine, cedar, coastal live oak, and shamel ash, providing a tangible link to the affected areas.
Each designer or duo was tasked with transforming this salvaged wood into objects designed for rest and contemplation. A significant portion of the proceeds—30% of all sales—is being donated to Greenline Housing, a non-profit organization actively involved in the ongoing reconstruction efforts within Altadena.
Among the featured artists is Sam Klemick, a renowned figure from the Wallpaper* USA 400 list. Klemick hand-carved a stool from Aleppo pine, skillfully designed to mimic fabric gracefully draped over a small table. To address the natural imperfections and cracks in the wood, she integrated small wooden 'patches,' a technique that not only prevents further damage but also references her signature patchwork style in upholstery, symbolizing repair and healing. Klemick reflected on the process, stating, 'Patchworking, to me, is about mending something that is broken or needs repair. That idea became especially meaningful as I reflected on the source of the lumber used for the show and its connection to the Altadena community.'
Klemick vividly recalled the morning after the fires began: 'The sky was dark and grey and ash rained down heavily as I walked to my car. I was fortunate to live outside the evacuation zone, but I still headed to a friend’s house to hunker down. It was all so surreal; if you didn’t lose your home, you had a close friend that did.' She believes the exhibition 'creates a space to remember and reflect – and not move on like business as usual,' underscoring the importance of sustained support beyond immediate aftermath.
Artist and designer Vincent Pocsik, known for incorporating human body parts in his sculptural and furniture creations, contributed a stool fashioned from cedar and cherry wood, notably adorned with carved ears. Pocsik explained his artistic rationale: 'I believe wood has a very high absorption of energy. Since this piece of cedar was salvaged from the fires I knew it would be holding so much of that energy and I wanted to honour that.' The inclusion of ears, he clarified, symbolizes the 'absorption and understanding' that the material embodies. Pocsik concluded, 'If the wood is telling a story in this show, it is saying that it survived and still has life to give,' a powerful testament to the city’s and humanity’s resilience.
Architect-designer Rachel Shillander's piece, 'Power Pole,' is a stool meticulously crafted from a single salvaged block of coastal live oak. Its surface is intricately 'embroidered' with nails, forming shimmering images and text. The artwork features adapted lyrics from 'Old Lady Leary,' a folk song traditionally associated with the Great Chicago Fire of 1871, rewritten to narrate the Los Angeles fires. Additionally, Shillander's piece depicts flames and a compass, drawing on folklore and societal narratives of catastrophe. She noted, 'Visually, the stool recalls the base of a neighbourhood power pole, layered over time with nails, notices, flyers and information, recording community life.'
Shin Okuda, founder of Waka Waka design studio, collaborated with his textile designer wife, Kristin Dickson-Okuda, to create a bench from a section of an ash tree trunk. This minimally designed bench, featuring a single decorative cushion, offers a low-to-the-ground place for contemplation.
Designer Ryan Belli presented a piece made from Ponderosa pine that functions as both a bench and a monument. Its boulder-like form provides seating, while a carved 'gravestone' topped with a small aluminum urn symbolizes life's inherent fragility. Belli reflected, 'The devastating fires provided a terrifying reminder of the temporal nature of all things,' concluding with a profound message: 'Be nice to yourself and others.'
The exhibition 'From the Upper Valley in the Foothills' is currently on display at Marta, LA, located at 3021 Rowena Avenue, Los Angeles, California, 90039 – 2004, and will run until January 31, 2026.
The 'From the Upper Valley in the Foothills' exhibition at Marta Gallery provides a profound opportunity to reflect on the nature of recovery and resilience. It serves as a powerful reminder that even from ashes, beauty and new purpose can emerge. The creativity demonstrated by these designers, transforming fire-damaged wood into meaningful art and functional objects, not only honors the memory of what was lost but also champions the enduring spirit of community and renewal. This initiative exemplifies how art can be a catalyst for healing and collective action, fostering a deeper connection between creativity, sustainability, and social responsibility. It compels us to consider how we, too, can find innovative ways to mend and rebuild in the face of adversity, supporting each other and cherishing the transient beauty of existence.