Connect with us

Lifestyle

'It’s going to be the Wild West.' Devastated by fire, Altadena artists vow to rebuild

Published

on

'It’s going to be the Wild West.' Devastated by fire, Altadena artists vow to rebuild

A week after the devastating Eaton fire tore through Altadena, killing 17, with 24 people missing as of this writing, and destroying more than 7,000 structures, cars were double-parked outside Knowhow Shop in Highland Park. People from all over Los Angeles, their faces obscured by masks due to raining ash, carried bags of toys and clothing to donate to Altadena Kindred, a fundraiser for Altadena children who have been displaced.

Just a month ago, one of the event’s organizers, Linda Hsiao, an Altadena ceramist and industrial designer, had helped host a similarly community-minded event in the foothill town. At the holiday craft fair at Plant Material, local artists shared handmade ceramics, knives, jewelry, hot sauce, embroidery and tie-dyed textiles. Adding to the family-friendly vibe, the St. Rita Cub Scout Pack showed up to sell mistletoe foraged from the nearby trails.

Bianca D’Amico, an artist who helped organize the December event — her son attended the preschool on Christmas Tree Lane that burned down — is proud of the hyperlocal market they created together in the former gas station, which amazingly survived, on Lincoln Avenue. “There is something deeply personal about our fellow vendors who pour so much of themselves into their work and are the spirit of Altadena,” D’Amico said, calling them a “creative, plant-loving, dog-friendly, kid-wrangling community of makers, artists and designers.”

In December, Altadena artists gathered at Plant Material on Lincoln Avenue to sell their handmade wares for the holidays. Many of them have lost their homes.

(Lisa Boone / Los Angeles Times)

Advertisement

Today, nearly all the vendors, including Hsiao; her husband, architect Kagan Taylor; and their two children, are homeless. “Our house is still standing, but it’s not safe for us to return,” she said of the smoke damage. “Right now, all I can think about is how we’ve lost our friends, our schools, our entire community.”

Hsiao’s shock was evident as she welcomed friends and accepted donations for Altadena Kindred. “This is where we were supposed to grow old,” she said haltingly. “This is where my son was supposed to ride his bike to school.”

With the loss of neighborhood schools, Hsiao is determined to find a way to create a place where all of the community’s children can gather.

But how do you create something like that when all of your neighbors are gone?

Advertisement

Located at the foot of the San Gabriel Mountains, the unincorporated community of more than 42,000 people has long been a refuge for artists, according to glass and metal artist Evan Chambers, who was born and raised in Altadena, just like his parents and grandparents.

Evan Chambers holds a glass pendant in his studio.

“It’s always been a very accepting community of eccentric people of all types,” said Evan Chambers, pictured in his Pasadena studio.

(Evan Chambers)

“It’s always been a very accepting community of eccentric people of all types,” said Chambers, who purchased his home from the estate of the infamous compost czar Tim Dundon, also known as Zeke the Sheik.

He credits gallery owner Ben McGinty with creating a space for all artists at his Gallery at the End of the World, which survived the fire. “He accepted all of us,” Chambers said of the gallery, which has existed for more than two decades. “I had my first show there.”

Advertisement

Chambers, 44, grew up surrounded by river-rock walls and Arts and Crafts homes that have informed his aesthetic as a glassblower. He lost his home, including the ceramics studio he built for his wife, Caitlin, but is adamant that he will rebuild. “We’re going to rock this,” said the father of two. “With climate change, there is no safe place to go. All that matters is that you suffer with the people you want to help and be helped by. If you’re going to burn, you burn with your people.”

Born and raised in Los Angeles, ceramist Victoria Morris has lived in many neighborhoods throughout the city. But when she purchased a small midcentury house in Altadena a decade ago, the artist felt like she had found a home, personally and professionally. “I thought, ‘This is my last stop,’” Morris said.

The ceramist worked in a studio on Lake Avenue, two miles from her home, where she stored photographs and hard drives in the basement. Just a month ago, Morris hosted a holiday sale, and people packed the showroom to shop for her midcentury-inspired lamps and vases.

Today, it’s all gone.

Morris feels fortunate to have a second home in Ojai. Still, she grapples with the nightmare of evacuating on Jan. 7 and what she has lost. “My husband, Morgan [Bateman], said, ‘Grab your wedding ring, your passport, the animals, and get a jacket and some sturdy shoes.’ There was this beautiful vintage Japanese print that cost nothing, but I loved her so much. And as I was leaving, I thought, ‘Should I grab her?’ Something in my brain said no. I have a notebook where I write the formulas for all my work. It’s been my bible for the last 20 years. Did I grab that? No. Our hard drives? Gone.”

Advertisement

When Bateman finally managed to get access to their property, he found their home and beloved garden smoldering. “All our neighbors are gone,” he told her, rattled.

Bird Sowersby stands in front of a heart mural in Altadena
Bird Sowersby, Annabel Inganni and Brendan Sowersby.
A living room

Brendan Sowersby and Annabel Inganni’s Altadena home, which burned down, was filled with custom furnishings and accessories designed by the couple. Their son Bird stands outside Lake Avenue’s Cafe de Leche, which is also gone. (Annabel Inganni)

On Wednesday, Wolfum textile designer Annabel Inganni was thinking about her 14-year-old son as she waited to pick up a free mattress and box spring at Living Spaces in Monrovia.

“He is in eighth grade, and his school in Pasadena has something like 67 families that have been impacted,” she said. “They are such a supportive community, but I’ve been burying my sadness just to get Bird back to school. And I know it’s not just us. It’s the entire town.”

Advertisement

Inganni lived in the Rubio Highlands neighborhood with her husband, furniture designer Brendan Sowersby of 100xbtr, their two dogs and three cats (all were evacuated safely). Their home was filled with custom furnishings the couple designed. Now, everything is gone. Many of her neighbors lived in their childhood homes. She describes the community as “heaven on earth.”

“Altadena is the most special, innovative, diverse, accepting, core-values town I’ve ever lived in,” she added. “The sense of community is strong. Now, we don’t even have a post office. I lost my home, studio and the archives of everything I’ve ever done. It’s a lot.”

Chris Maddox and Thomas Renaud's Altadena home before it burned
A fireplace stands among the ashes of a burned home
Chris Maddox and Thomas Renaud

Chris Maddox and Thomas Renaud lost their Altadena home in the Eaton fire. (Thomas Renaud)

After temporarily evacuating to Moorpark last Tuesday, Thomas Renaud returned to Altadena after learning his neighbors’ home was still standing.

Advertisement

“They wanted to go back and get some things, and I offered to drive them,” he said. Renaud was hopeful that the home he shared with his partner, Chris Maddox, and their dog, Van — who both got out safely — would also be left unscathed. But as he drove down Altadena Drive after dropping off his neighbors on Wednesday, all he could see was ash and fire. “When I rounded the corner to my street, I saw that the entire neighborhood was gone,” he said, “and I just lost it.”

When the LGS Studio ceramist and Maddox purchased their house about five years ago, they immediately fell in love with Altadena’s creative community.

“Many artists, musicians and writers live here, and we felt like we had our slice of that,” he said. “We put so much love into that house; it was a place for all our friends and family. It wasn’t just that we lost a house but a home.”

Although Renaud returned to work at his studio in Glassell Park this week, he said he is still in shock. “I don’t think I’ve slept more than one night in the past week,” he said. “Everything right now feels so overwhelming. All the support humbles us, but where do we begin?”

He said that, like many others without homes, finding semipermanent housing is a good start.

Advertisement
Ceramist Linda Hsiao with her children Wawona Hsiao, 3, and Saben Taylor, 5.

Ceramist Linda Hsiao with her children, Wawona, 3, and Saben, 5, in her Altadena home studio in November. Their home is still standing, but the family is unable to live there.

(Robert Hanashiro / For The Times)

As artists, it’s unsurprising that many are haunted by the things they left behind. For Morris, it’s a set of mugs by Los Angeles ceramists Kat and Roger, a quilt she made with her mother, a pencil drawing of her grandmother by her grandfather.

Chambers mentions a lamp by Pasadena artist Ashoke Chhabra and his great-uncle Charles Dockum’s mobile color projector, as well as Dockum’s correspondence with architect Frank Lloyd Wright.

The journals that Inganni had been keeping since she was 6, along with irreplaceable family mementos, are destroyed. “Brendan’s father passed away two years ago, and we had his ashes and photos, and they’re all gone,” she said. “That’s what gets him the most.”

Advertisement

When it came time to evacuate, Renaud grabbed one bag of clothes, the dog, the dog bed and his great-grandfather’s watch. “I didn’t think the fire would come this far,” he said. “My grandmother was a painter, and I had her original artwork. Those are the things I’m grieving for the most. I was thinking, ‘We’ll come back.’ But it’s family history that we can’t get back.”

Photo of a burned building.

“Everyone at the hardware store knew my name and would always offer my dog treats,” said artist Victoria Morris.

(Colleen Shalby / Los Angeles Times)

During the COVID-19 pandemic, Morris sought refuge in her studio. But now the businesses near her studio are gone, like Altadena Hardware on Mariposa Street, Grocery Outlet Bargain Market, Café de Leche and Steve’s Pets. Added Morris: “Everyone at the hardware store knew my name and would always offer my dog treats.”

Despite all they have lost, the artists acknowledge moments of grace. Friends have set up GoFundMe accounts to help them with their short-term needs. Chambers’ friends from preschool and elementary school built beds for him and his family. Morris has received notes that have brought her to tears.

Advertisement

“Two people sent me pictures of one of my vases and a bowl and told me they survived,” she said. “And it has brought them so much happiness. They offered them to me, and I told them no. I want them to keep them.”

Hsaio received a photo from a tequila maker in Altadena who went through his rubble and found one of her Tiki tumblers intact. “These people weren’t just my customers,” she said. “They were my community.”

Still, some are filled with trepidation about what comes next.

Renaud and Taylor have received text messages from strangers offering to purchase their damaged homes. “It’s still smoldering,” Renaud said in disbelief.

“It’s going to be the Wild West,” Inganni said. “Everyone I’ve spoken to is rebuilding. That’s what is percolating in the community. But I think people are very nervous about land grabs and worried about people who don’t have the financial capability to cover themselves.”

Advertisement

In the meantime, Morris just wants to get back to work. “I don’t want to miss being a part of rebuilding Altadena,” she said. “It may be a collective. It may be a store. There’s no way I can cut and run out of a place that’s so special.”

Inganni said Sowersby is considering building desks for the community and developing a fireproof home system.

Renaud, temporarily living in a friend’s accessory dwelling unit, or ADU, in Mount Washington, also wants to help.

“I needed to go and see our house because I needed to grieve,” he said. “If you don’t see what you’ve lost, it’s always a question mark in your mind. But now, I want to be a part of the rebuilding. I have a truck. I’m ready.”

Advertisement

Lifestyle

Timothée Chalamet brings a lot to the table in ‘Marty Supreme’

Published

on

Timothée Chalamet brings a lot to the table in ‘Marty Supreme’

Timothée Chalamet plays a shoe salesman who dreams of becoming the greatest table tennis player in the world in Marty Supreme.

A24


hide caption

toggle caption

Advertisement

A24

Last year, while accepting a Screen Actors Guild award for A Complete Unknown, Timothée Chalamet told the audience, “I want to be one of the greats; I’m inspired by the greats.” Many criticized him for his immodesty, but I found it refreshing: After all, Chalamet has never made a secret of his ambition in his interviews or his choice of material.

In his best performances, you can see both the character and the actor pushing themselves to greatness, the way Chalamet did playing Bob Dylan in A Complete Unknown, which earned him the second of two Oscar nominations. He’s widely expected to receive a third for his performance in Josh Safdie’s thrilling new movie, Marty Supreme, in which Chalamet pushes himself even harder still.

Chalamet plays Marty Mauser, a 23-year-old shoe salesman in 1952 New York who dreams of being recognized as the greatest table-tennis player in the world. He’s a brilliant player, but for a poor Lower East Side Jewish kid like Marty, playing brilliantly isn’t enough: Simply getting to championship tournaments in London and Tokyo will require money he doesn’t have.

Advertisement

And so Marty, a scrappy, speedy dynamo with a silver tongue and inhuman levels of chutzpah, sets out to borrow, steal, cheat, sweet-talk and hustle his way to the top. He spends almost the entire movie on the run, shaking down friends and shaking off family members, hatching new scams and fleeing the folks he’s already scammed, and generally trying to extricate himself from disasters of his own making.

Marty is very loosely based on the real-life table-tennis pro Marty Reisman. But as a character, he’s cut from the same cloth as the unstoppable antiheroes of Uncut Gems and Good Time, both of which Josh Safdie directed with his brother Benny. Although Josh directed Marty Supreme solo, the ferocious energy of his filmmaking is in line with those earlier New York nail-biters, only this time with a period setting. Most of the story unfolds against a seedy, teeming postwar Manhattan, superbly rendered by the veteran production designer Jack Fisk as a world of shadowy game rooms and rundown apartments.

Early on, though, Marty does make his way to London, where he finagles a room at the same hotel as Kay Stone, a movie star past her 1930s prime. She’s played by Gwyneth Paltrow, in a luminous and long-overdue return to the big screen. Marty is soon having a hot fling with Kay, even as he tries to swindle her ruthless businessman husband, Milton Rockwell, played by the Canadian entrepreneur and Shark Tank regular Kevin O’Leary.

Marty Supreme is full of such ingenious, faintly meta bits of stunt casting. The rascally independent filmmaker Abel Ferrara turns up as a dog-loving mobster. The real-life table-tennis star Koto Kawaguchi plays a Japanese champ who beats Marty in London and leaves him spoiling for a rematch. And Géza Röhrig, from the Holocaust drama Son of Saul, pops up as Marty’s friend Bela Kletzki, a table tennis champ who survived Auschwitz. Bela tells his story in one of the film’s best and strangest scenes, a death-camp flashback that proves crucial to the movie’s meaning.

Advertisement

In one early scene, Marty brags to some journalists that he’s “Hitler’s worst nightmare.” It’s not a stretch to read Marty Supreme as a kind of geopolitical parable, culminating in an epic table-tennis match, pitting a Jewish player against a Japanese one, both sides seeking a hard-won triumph after the horrors of World War II.

The personal victory that Marty seeks would also be a symbolic one, striking a blow for Jewish survival and assimilation — and regeneration: I haven’t yet mentioned a crucial subplot involving Marty’s close friend Rachel, terrifically played by Odessa A’zion, who’s carrying his child and gets sucked into his web of lies.

Josh Safdie, who co-wrote and co-edited the film with Ronald Bronstein, doesn’t belabor his ideas. He’s so busy entertaining you, as Marty ping-pongs from one catastrophe to the next, that you’d be forgiven for missing what’s percolating beneath the movie’s hyperkinetic surface.

Marty himself, the most incorrigible movie protagonist in many a moon, has already stirred much debate; many find his company insufferable and his actions indefensible. But the movies can be a wonderfully amoral medium, and I found myself liking Marty Mauser — and not just liking him, but actually rooting for him to succeed. It takes more than a good actor to pull that off. It takes one of the greats.

Continue Reading

Lifestyle

The Best of BoF 2025: A Year of Global Upheaval

Published

on

The Best of BoF 2025: A Year of Global Upheaval
Trade turmoil, luxury’s slowdown and shifting consumer behaviours reshaped global fashion in 2025, pressuring manufacturers from Vietnam to China while opening frontiers in India, Africa and Latin America. But creative resilience and bold investment signalled where the industry may find its next wave of growth.
Continue Reading

Lifestyle

Hungarian filmmaker Béla Tarr — known for bleak, existential movies — has died

Published

on

Hungarian filmmaker Béla Tarr — known for bleak, existential movies — has died

Hungarian director Béla Tarr at the Berlin International Film Festival in 2011.

Andreas Rentz/Getty Images


hide caption

toggle caption

Advertisement

Andreas Rentz/Getty Images

Béla Tarr, the Hungarian arthouse director best known for his bleak, existential and challenging films, including Sátántangó and Werckmeister Harmonies, has died at the age of 70. The Hungarian Filmmakers’ Association shared a statement on Tuesday announcing Tarr’s passing after a serious illness, but did not specify further details.

Tarr was born in communist-era Hungary in 1955 and made his filmmaking debut in 1979 with Family Nest, the first of nine feature films that would culminate in his 2011 film The Turin Horse. Damnation, released in 1988 at the Berlin International Film Festival, was his first film to draw global acclaim, and launched Tarr from a little-known director of social dramas to a fixture on the international film festival circuit.

Tarr’s reputation for films tinged with misery and hard-heartedness, distinguished by black-and-white cinematography and unusually long sequences, only grew throughout the 1990s and 2000s, particularly after his 1994 film Sátántangó. The epic drama, following a Hungarian village facing the fallout of communism, is best known for its length, clocking in at seven-and-a-half hours.

Advertisement

Based on the novel by Hungarian writer László Krasznahorkai, who won the Nobel Prize in Literature last year and frequently collaborated with Tarr, the film became a touchstone for the “slow cinema” movement, with Tarr joining the ranks of directors such as Andrei Tarkovsky, Chantal Akerman and Theo Angelopoulos. Writer and critic Susan Sontag hailed Sátántangó as “devastating, enthralling for every minute of its seven hours.”

Tarr’s next breakthrough came in 2000 with his film Werckmeister Harmonies, the first of three movies co-directed by his partner, the editor Ágnes Hranitzky. Another loose adaptation of a Krasznahorkai novel, the film depicts the strange arrival of a circus in a small town in Hungary. With only 39 shots making up the film’s two-and-a-half-hour runtime, Tarr’s penchant for long takes was on full display.

Like Sátántangó, it was a major success with both critics and the arthouse crowd. Both films popularized Tarr’s style and drew the admiration of independent directors such as Jim Jarmusch and Gus Van Sant, the latter of which cited Tarr as a direct influence on his films: “They get so much closer to the real rhythms of life that it is like seeing the birth of a new cinema. He is one of the few genuinely visionary filmmakers.”

The actress Tilda Swinton is another admirer of Tarr’s, and starred in the filmmaker’s 2007 film The Man from London. At the premiere, Tarr announced that his next film would be his last. That 2011 film, The Turin Horse, was typically bleak but with an apocalyptic twist, following a man and his daughter as they face the end of the world. The film won the Grand Jury Prize at the Berlin International Film Festival.

After the release of The Turin Horse, Tarr opened an international film program in 2013 called film.factory as part of the Sarajevo Film Academy. He led and taught in the school for four years, inviting various filmmakers and actors to teach workshops and mentor students, including Swinton, Van Sant, Jarmusch, Juliette Binoche and Gael García Bernal.

Advertisement

In the last years of his life, he worked on a number of artistic projects, including an exhibition at a film museum in Amsterdam. He remained politically outspoken throughout his life, condemning the rise of nationalism and criticizing the government of Hungarian leader Viktor Orbán.

Continue Reading

Trending