BONSAI FOCUS 2016-2 EN PREVIEW

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30 DISPLAY Bonsai Focus Stone: Kamogawa stone 'Hira Renpou / Hira mountain range'. Length: 58 cm / 22¾" Width 30 cm / 11¾" Height 9 cm / 3½" Douban: Kibundou Displayed with a five needle pine in a Japanese eight-sided pot and a bronze boat Stone: Kamogawa stone (previously seen in the Suifu Sanjin collection) Length: 19 cm / 7¼" Width: 11 cm / 4¼" Height: 9 cm / 3½". Suiban: Rectangular Celandon ware. Displayed with red pine in a Nanban round pot The semi cascading pine tree looks out across the mountains and rivers while over head, migratory geese fly off for the winter. A very well matched scene Tree: Five needle pine Height 42 cm / 16½" Displayed on a Kamogawa itokake stone with an accent plant. The natural character of the stone has been accentuated well and the height of the display table draws attention to the image of the full moon Using the 160 cm / 63" tall reed as the main item in this display was a master stroke. The sense of scale created makes the large suiban containing the Iyo stone look like a vast lake. The sense of playfulness in this display is accentuated by the refined, but jovial scene represented in the wood block print A shohin display created in front of a fusuma (painted screen) Main Kusamono: Toda reed Height: 160 cm / 63" Pot: Udei round. Displayed with a stone in a Japanese suiban
Bonsai Focus POTS 31 Simple and stubborn Thor Holvila from Sweden has a different approach to pot making Text and photography: Bonsai Focus Studio How did you get into bonsai pottery? Like most bonsai potters it began by making pots for my own trees. I started producing pots for others in 2008 once I had my own pottery studio. I graduated from Schillerska Art School in 1989, but I recently met an old classmate who said that even then I was talking of becoming a bonsai potter. I cannot remember this, but sometimes life leads you to your dreams. What is the most important thing you learned from your teacher? My father Berndt Thor Holvila, who was a judo instructor and also a goldsmith, taught me how to appreciate Japanese art and tradition, as well as the simplicity and stubbornness that was already in my childhood. Technology and the knowledge of clay and kilns I received when I was an apprentice under-potter to Paula Lindfors (pioneer in the Swedish raku technique). As a good teacher she would question everything I did and, above all, she got me to work with larger sizes. She made me dare to put small tea pots aside and to build and think big. The only limitation is the size of the kiln. Why ceramic? What do you find so fascinating about it? Unlike work as a blacksmith, or crafting wood, clay has the property that allows you to work with it until you're satisfied; after firing, you cannot change anything. It suits my personality well for I like to contemplate what I want to do and where I want to go, consider my choices before I decide. After that, I seldom turn or look back. What is your philosophy of bonsai ceramics? I want to stick with simplicity. I stay with the old techniques, simple tools and a few quality materials. That way I stay with tradition and have a relationship with the
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