Understanding the simplicity of bonsai display was the main topic of our next meeting. I asked Bob to consider the bonsai tree as a painting. Typically, the frame of a painting should not detract the viewer from the actual painting. In this case, the bench’s exquisite design would certainly detract from viewing the tree. In fact, I would likely receive more favorable comments on the benches than of the trees, especially from those that do not have a knowledge of bonsai. It would not be difficult to see the craftsmanship at-hand in the creation of the bench, whereas, the bonsai tree has lived a complex and abnormal existence. Some of these experiences are visually obvious and others masked.
I asked Bob to focus on the functionality and purpose of the display. We both agreed that a pedestal, not a bench, would be the best way to frame a bonsai tree. Bob seems to be most inspired when his imagination is challenged and I knew the pure functional characteristics required of the pedestal would be boring to him. I thought to myself that there must be some way to incorporate his creative expression into this project.
He left with the current issue of Bonsai Focus and “The Japanese Art of Stone Appreciation” by Covello and Yoshimura. The Bonsai Focus issue featured a wide variety of bonsai display—from gallery to tokoname.
Bob’s words as written on March 27 -
“We talked more today and you helped me realize that my early ideas were off the mark. Bonsai is organic art and you said simply that the stand on which it is displayed is a big deal. Now I begin to understand at a deeper level—we are talking now of an organic sculptural art form for display as if in an art gallery—now I have to think as a curator. The stand itself must be a sort of pedestal art form raised to near eye level for the observer, but not as a structure to be more significant than the plant itself, and, so back to the drawing board.”
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