In a message dated 3/8/2004 2:19:20 PM Eastern Standard Time, writes:


I haven't heard of any potters trying to get their efforts
"elevated" into one of the arts. Potters that I know are
perfectly happy to be known as master craftsmen and women. (One
of the benefits of being a master craftsman, is that living
artisans actually can MAKE a living at it; that's often not so in
"The Arts.")


A tree in a plastic pot can be beautiful can be nice looking.
A nice (empty) bonsai pot, can be a thing of beauty.

But the same tree, presented in that beautiful pot (assuming
they go
together) can be fantastic.

In the same way, the potted tree, presented on a fantastic
stand, will
join to be a greater thing of beauty.


Very true. BUT the pot, and the stand are there to SERVE
the
tree, which is their reason for being.

I am not certain that the word is serve. There is a union between tree and clay, and within this union both the tree and the pot collectively achieve one goal--an expression of beauty.

Beyond this point, I will say that many pots are true works of art. Ron Lang, Dale Cochoy, and other masterful potters are producing some very impressive work.

Cordially,

Michael Persiano
members.aol.com/iasnob/index.html

************************************************** ******************************
++++Sponsored, in part, by Ken Rutledge++++
************************************************** ******************************
-- The IBC HOME PAGE & FAQ: http://www.internetbonsaiclub.org/ --
+++++ Questions? Help? e-mail +++++

Hi Jim. You noted,
... as Andy noted to me -- offlist -- the extent
to which bonsai is an art is... so, at least partially,
because the tree/pot/stand/etc... harmonize for a
cohesive (single) image. This business of working
to make one of those elements conspicuous only
occurs at the expense of the overall display... In
other words, making any part of the composition
conspicuous makes, by definition, the "composition"
fall apart and become a ridiculous mess.

I wonder about the the notion "conspicuous," Jim? While a distracting
("conspicuous" application #1) element in a composition including bonsai by
definition makes "the composition fall apart," it is not accurate that a
visually dominant ("conspicuous" application #2) element makes a display
composition fall apart. Working to choose or make an element more (or
sometimes less) visually dominant, if it is intended, does not occur at
expense of the overall display.

Japanese-style display including bonsai arrays objects such that some are
clearly dominant. An exhibit without conspicuous, dominant elements would
be lack feeling and expression. Companion objects are "companions" because
they support more visually dominant elements in display. The choice of
visual dominance is balanced by both objects chosen and their relative
placement in the composition to create harmony.

Harmony in an exhibit is dependent on elements not being distracting.
Glaring distractions are often the misplacement or poor choice of relatively
inconspicuous elements, and these can make the composition inadequate (or a
"ridiculous mess," if you prefer).

Bonsai doesn't have to be the focus of a contemporary display & the
Weyerhauser competition allows, but doesn't require, that the bonsai bow to
other objects of art including its own support or framing.

If we were to chart a continuum of sophistication in utilizing display
space, lining bonsai (or suiseki) along a table with no stands would be at
the lower end of the range. Sticking a board under each would be a modest
improvement. Putting them each atop footed stands of varying height and
varying their depth of placement as well as careful varying their horizontal
distribution would be a large improvement. Somewhere among these early
choices, recognizing and utilizing the eye movement and eye speed would add
utility to reading the exhibit rythmicly. Adding companion objects that
expressed seasonality, added emotional appeal or spoke directly to an
invited guest would strengthen the display. Placing the companion objects &
their supports with undertstanding of use of space in terms of dominance &
avoiding distraction would be another large leap.

Further sophistication arises from recognizing continuing conventions
regarding the use of space & understanding exceptions to conventions that
are still resounding. Contemporary display will deconstruct the
conventional model and re-build "exhibition space" with elements or concepts
of space that may or may not utilize the same conventions.

The Weyerhauser examples are very instructive, but not as exciting as they
could be. So much the better for the competition to improve upon them.

For example, the stick figure sculpture (including a striding figure colored
white) might just as well be holding a pot of geraniums or a beach ball in
terms of visual impact. The bonsai seems an afterthought like the companion
plants in some poorly composed traditional exhibits. It is an exhuberant
display which neutralizes bonsai as just another object rather than an
elevated one. Perhaps that is the point. The bonsai is well displayed
against a plain background without distraction & fails to capture the
viewers first glance. It is a different neutralization than we see in
bonsai placed in front of complex backgrounds or with lighting that causes
distracting shadows.

The fellow using a rectangular black-lacquered board, a set of two
rectangular black-lacquered boards and a suhama-shaped, naturally-contoured
& naturally-finished slab as stands breaks many conventions & his overall
scene is chaotic, to me. Maybe chaos or at least ambiguity regarding
dominance and perspectives (e.g. depth of the scene conflicting in different
stand placements) was his point.

Bonsai logo designers & webmasters dabble in contemporary bonsai display in
images. The National Bonsai Foundation homepage image (image of tips of
wired bonsai limbs) are strong in limiting the full view of a bonsai. No
doubt peek-a-boo display has its place & could be very imaginative-- though
perhaps as effervescent as the same trend in women's dresses. What would
you choose to show, and what would you hide, artfully?

Few USA bonsai & suiseki exhibits artfully apply Japanese display
conventions. There is much to gain in conventional display & contemporary
options. The Japanese explore contempory options, as well-- even the
leaders of traditional format such as Uraku Sudo include non-traditional
display formats among their published materials.

Best wishes,
Chris... C. Cochrane, , Richmond VA USA

************************************************** ******************************
++++Sponsored, in part, by Ken Rutledge++++
************************************************** ******************************
-- The IBC HOME PAGE & FAQ: http://www.internetbonsaiclub.org/ --
+++++ Questions? Help? e-mail +++++

Hi Jim. You noted,
... as Andy noted to me -- offlist -- the extent
to which bonsai is an art is... so, at least partially,
because the tree/pot/stand/etc... harmonize for a
cohesive (single) image. This business of working
to make one of those elements conspicuous only
occurs at the expense of the overall display... In
other words, making any part of the composition
conspicuous makes, by definition, the "composition"
fall apart and become a ridiculous mess.

I wonder about the the notion "conspicuous," Jim? While a distracting
("conspicuous" application #1) element in a composition including bonsai by
definition makes "the composition fall apart," it is not accurate that a
visually dominant ("conspicuous" application #2) element makes a display
composition fall apart. Working to choose or make an element more (or
sometimes less) visually dominant, if it is intended, does not occur at
expense of the overall display.

Japanese-style display including bonsai arrays objects such that some are
clearly dominant. An exhibit without conspicuous, dominant elements would
be lack feeling and expression. Companion objects are "companions" because
they support more visually dominant elements in display. The choice of
visual dominance is balanced by both objects chosen and their relative
placement in the composition to create harmony.

Harmony in an exhibit is dependent on elements not being distracting.
Glaring distractions are often the misplacement or poor choice of relatively
inconspicuous elements, and these can make the composition inadequate (or a
"ridiculous mess," if you prefer).

Bonsai doesn't have to be the focus of a contemporary display & the
Weyerhauser competition allows, but doesn't require, that the bonsai bow to
other objects of art including its own support or framing.

If we were to chart a continuum of sophistication in utilizing display
space, lining bonsai (or suiseki) along a table with no stands would be at
the lower end of the range. Sticking a board under each would be a modest
improvement. Putting them each atop footed stands of varying height and
varying their depth of placement as well as careful varying their horizontal
distribution would be a large improvement. Somewhere among these early
choices, recognizing and utilizing the eye movement and eye speed would add
utility to reading the exhibit rythmicly. Adding companion objects that
expressed seasonality, added emotional appeal or spoke directly to an
invited guest would strengthen the display. Placing the companion objects &
their supports with undertstanding of use of space in terms of dominance &
avoiding distraction would be another large leap.

Further sophistication arises from recognizing continuing conventions
regarding the use of space & understanding exceptions to conventions that
are still resounding. Contemporary display will deconstruct the
conventional model and re-build "exhibition space" with elements or concepts
of space that may or may not utilize the same conventions.

The Weyerhauser examples are very instructive, but not as exciting as they
could be. So much the better for the competition to improve upon them.

For example, the stick figure sculpture (including a striding figure colored
white) might just as well be holding a pot of geraniums or a beach ball in
terms of visual impact. The bonsai seems an afterthought like the companion
plants in some poorly composed traditional exhibits. It is an exhuberant
display which neutralizes bonsai as just another object rather than an
elevated one. Perhaps that is the point. The bonsai is well displayed
against a plain background without distraction & fails to capture the
viewers first glance. It is a different neutralization than we see in
bonsai placed in front of complex backgrounds or with lighting that causes
distracting shadows.

The fellow using a rectangular black-lacquered board, a set of two
rectangular black-lacquered boards and a suhama-shaped, naturally-contoured
& naturally-finished slab as stands breaks many conventions & his overall
scene is chaotic, to me. Maybe chaos or at least ambiguity regarding
dominance and perspectives (e.g. depth of the scene conflicting in different
stand placements) was his point.

Bonsai logo designers & webmasters dabble in contemporary bonsai display in
images. The National Bonsai Foundation homepage image (image of tips of
wired bonsai limbs) are strong in limiting the full view of a bonsai. No
doubt peek-a-boo display has its place & could be very imaginative-- though
perhaps as effervescent as the same trend in women's dresses. What would
you choose to show, and what would you hide, artfully?

Few USA bonsai & suiseki exhibits artfully apply Japanese display
conventions. There is much to gain in conventional display & contemporary
options. The Japanese explore contempory options, as well-- even the
leaders of traditional format such as Uraku Sudo include non-traditional
display formats among their published materials.

Best wishes,
Chris... C. Cochrane, , Richmond VA USA

************************************************** ******************************
++++Sponsored, in part, by Ken Rutledge++++
************************************************** ******************************
-- The IBC HOME PAGE & FAQ: http://www.internetbonsaiclub.org/ --
+++++ Questions? Help? e-mail +++++