pots by Mateusz Grobelny

I love the textures that can be achieved with bonsai pots but personally find this pot very ugly and doesn't do the tree any favours.Some of the previous comments reek of "emperors new clothes".

[i][quote="Walter Pall"]Speaking about understanding contemporary art: At BMW headquarters there are ongoing art exhibits. A group of people is reposible to choose suitable art objects and prepar the exhibit. I was very lucky to get rated as eligible 'artist' and asked to exhibit some of my trees. You think that I could choose the trees? No way! The art lady came and chose for herself. She has no clue about bonsai, no clue about bonsai tradition, she gets paid dearly for her taste. She has chosen sculptures by Giacometti before for this exhibit (insurance value 100 million). She chose this mugo pine with 'Queen Maria Theresia's night pot'. She insisted. The more I look at it the more I think the pot is right; especialyl since it is starting to get patina with algae and moss.

Pot by Mateusz Grobelny.

This gives you a taste of what could happen if bonsai really enters the art world. Arts folks would command the exhibits and the bonsai establishment would cringe. Nothing would stay as it is in the bonsai scene. To be honest I look forward to this day.

Bonsai is the most backward looking art form that I know.[/i]

Wow Walter you realy outdone yourself with this one!
Now I am not picking a fight with you, that's not why I reply! But would you believe that you got me so upset with your (above) over the top reaction to some minor critique on your choice of pots! That I hat to walk up and down my small garden for a few hours to calm myself down, before I could reply to this latest outburst from you, the person that wrote articles about "Bonsai critique" and how to handle it!
Seriously Walter, why is this necessary? Did you even consider the possibility of how this must sound to a dedicated Bonsai artist like me? Do you even realise how degrading it is, to have to sit here in the morning with a cup of tea and than read that we, in your eyes, are doing it all wrong and realy are not worthy of even commenting on your work or post. Trying to convince me that for the last twenty years of my live I have been pursuing a backward looking art form!
Why this attitude to other artist there opinion and work Walter? Don't you care how these reactions make you look with your Bonsai colleges, like me, that always treated you with the respect you deserve!
Because of my health problems and because I am sick of the people that walk around like they are the God or Gabriel of bonsai, I am slowly freeing my self from what the main bonsai scene has become in the last few years! So that means, that I dont have to walk on my toes any longer or bite my tong! And Walter, because my normal professional courtesy has flown out off the window with your last post, here is my critique of the tree in the picture below!
In my humble opinion as a Bonsai artist: I do feel that by planting this very promising and exciting Pine in to this, to big, to rough and totally wrongly shaped pot. You have reduced it from becoming a amazingly stunning tree, into just: a tree in a (wrong) pot! ERGO : BONSAI !!! Talk about backwards!!! Now that is irony for you Walter!!!
I still find it hard to believe that some times Bonsai is just like the real world !
Just my 2 cents!
Cheers,
Hans van Meer.

"Do you even realise how degrading it is, to have ...read that we, in your eyes, are doing it all wrong...?"
That was the furthest thing from my mind.
Mr Pall is certainly welcome to strongly express his opinion and interpretation, but, that's all it is. Nothing magic here. He is talented and direct, but many other talented and direct folks will just as strongly disagree.
We have an animated thread that is direct but not disrespectful, instead of the usual 'nice tree' or 'nice pot'!
One man's ceiling is another man's floor...
Thanks for the post and replies!

Here is a hawthorn, Crataegus monogyna in one of the pots by Mateusz Grobelny.

Hans it totally escapes me why you found it necessary to write this tirade.
There is nothing that I have to excuse for and nothing that I will take back. You are making up somehting here. Read the whole thread with all contributions and you will understand why I am writing this right there.

Hans van Meer. wrote:

In my humble opinion as a Bonsai artist: I do feel that by planting this very promising and exciting Pine in to this, to big, to rough and totally wrongly shaped pot. You have reduced it from becoming a amazingly stunning tree, into just: a tree in a (wrong) pot! ERGO : BONSAI !!! Talk about backwards!!! Now that is irony for you Walter!!!
I still find it hard to believe that some times Bonsai is just like the real world !
Just my 2 cents!
Cheers,
Hans van Meer.

Thank you for your opinion Hans. This is not an uncommon one. And ist does not offend me nor surprise me. Exactly because of this I have shown the tree here. I find it enlightening that the majority of the bonsai establishement finds this pot atrocious but a lady who professionally has to select art on the highest level picks exacty this one from my collection to show it in an art exhibit. She has no clue about bonsai, yes, so she DOES NOT KNOW THAT THIS SHOULD BE UGLY. She just follows her very well trained artistic taste.

[quote="Walter Pall"]

Hans van Meer. wrote:
Thank you for your opinion Hans. This is not an uncommon one. And ist does not ofend me nor sruprise me. Exactly because of this I have shown the tree here. I find it enlightening that the majority of the bonsai establishement finds this pot atrocious but a lady who professionally has to select art on the highest level picks exacty this one from my collection to show it in an art exhibit. She has no clue about bonsai, yes, so she DOES NTO KNOW THAT THIS SHOULD BE UGLY. She just follows her very well trained artistic taste.

Dear Walter

I also step my feet's in the art circles. My wife is a professional art painter, so i do know how it works out there. Because this lady pics your tree is not the same as understanding the very special art of bonsai at all.
She made her choice from her knowledge and with her aim for the exhibition. She sees a sculpture that will work in the environment it is put up in, with what ever motive she has.

That is not the same as a blueprint or saying that this tree is beautiful in this kind of pot. It is her choice yes, and you let her choose. It is not always a good choice not setting any demands, or taking part in everything just to be there. It has to give one the credit and level you and your art work deserves.
I truly respect you as an artist, but I also disagree with your new path. Because I do think this simply is a very ugly result not being a bonsai anymore. As I interpret the art.
And I think it is a failure not to set demands for this lady's choice, unless you like her choices?

For me there is no link between pot and tree in your examples. I just look at this (sorry) very ugly pots, and do not see the beauty nor character of the tree - and that's what bonsai is about. I think some of the trees shown deserves much more. It is not necessary to express your trees this way. It gives no meaning to do so as from my point of view.

The art of bonsai, for me, is not about making controversial peaces or installations, not about trying to twist it into something it is not. Because the fundamentals of the art is ruined then. One can find so many other arts forms to express them selves in, instead of trying to pull a very special art form with a deep history out of its form. As an artist you can use the trees as you choose to, but maybe it is not as bonsai then?

This is your choice, but please, do not talk down to people who like it otherwise, and cherish the art of bonsai in its true substance wits all of its history and beauty.

This is with no meaning to offend you, and I hope it will be received as an open minded discussion of the peaces you have posted for comments.

Best regards
Morten Albek

Walter Pall wrote:Hans it totally escapes me why you found it necessary to write this tirade.
There is nothing that I have to excuse for and nothing that I will take back. You are making up somehting here. Read the whole thread with all contributions and you will understand why I am writing this right there.

Well Walter, I did not expect you to understand my reply to your post. I knew that was idol hope on my part! My post, by the way was not a tirade, the tirades I wrote in the first place, I deleted! Because just like I wrote, I usual dont confront my colleges!
So just forget about it, and go on with what you are doing for the last couple off years now, slowly destroying a brilliant carrier in Bonsai by upsetting so many people with your harsh and often arrogant words. You can plant your next bonsai upside down in a transparent glass pot and even then I am sure that some arty farty person with no bonsai knowledge and a lot of new bonsai fans will worship you for it...but not us Walter, people who understand this beautiful art a little! We hear, what so many are afraid to tell to your face!
I just dont get it, that you dont get that?
Well I had my small say, and that's it for me!
Cheers,
Hans van Meer.

I have worked in art galleries for many years and have curated exhibitions, one as recently as last year. In every case the artist selects the work that they wish to show and the curator and artist work together to formulate the display.

If you give free rein to the curator they will select artworks that THEY believe are suitable, not necessarily the work that is most creative or worthy of display... as created by the artist.

This is like the 'Public' vote on their favorite tree in an exhibition... they usually choose the one that has flowers... because it looks 'nice'

Another one. Wooden pot by Robert, a wood sculptor.

No doubt I will be considered disrespectful, but all this argument pointed at something that I have read when starting in Bonsai which I always try to remember.... It is about the spirit of Bonsai "bonsai no kokoro" as seen by late Respectable Saburo Kato...

So, please kindly let a novice who wants to be taught to transfer and/or remind this in this forum...
Thank you!

... ... ... ...
Saburo Kato has often spoken about the spirit and philosophy of bonsai (in Japanese, "bonsai no kokoro"). By nurturing bonsai, we learn the essence and dignity of life, and life becomes more meaningful. If we are diligent in our care, one day we will understand when a bonsai is asking for water or fertilizer. As we assume responsibility for the care of the bonsai, a close bond develops between the caregiver and the bonsai. In return for the caregiver's love, the bonsai portrays the utmost beauty of nature. The love one has for bonsai then expands to encompass nature in all its many forms.

This is the power of bonsai. As one's appreciation of nature grows, so will one's enlightenment. As a result, Mr. Kato has called it the duty of all those who love bonsai to keep "torch of peace" burning throughout the world.
Those who carry the torch of peace - those such as Saburo Kato and John Naka who selflessly lead humble lives and spread the word of bonsai - walk the path of "bonsai no kokoro." It is not a difficult path to follow - it only requires that you share the gift you have been given and pass it on to others. If you help only one other person to enjoy the art of bonsai or develop one friendship with another based on your mutual love of bonsai, the world will be a more peaceful place.
... ... ... ...

Source: http://www.bonsai-wbff.org/nabf/about.htm

Saburo Kato was the headliner and representative of the Nippon Bonsai Association in their first international participation outside of Japan which took place at the International Bonsai Congress at the Sheraton-Waikiki Hotel in Honolulu, Hawaii on July 6, 1980.
There he addressed his presentation starting like this:

All of you here with an interest in bonsai have been "chosen by bonsai." We are united in the brotherhood of bonsai. It's wonderful to gather together. In Japan bonsai has an ancient history borne of nature. Bonsai is enlightenment and brings peace. It is well known and appreciated. It's the duty of all of us that love bonsai to keep alive this "torch of peace."

Source: http://www.fukubonsai.com/5a2.html

Walter Pall wrote:
Thank you for your opinion Hans. This is not an uncommon one. And ist does not offend me nor surprise me. Exactly because of this I have shown the tree here. I find it enlightening that the majority of the bonsai establishement finds this pot atrocious but a lady who professionally has to select art on the highest level picks exacty this one from my collection to show it in an art exhibit. She has no clue about bonsai, yes, so she DOES NOT KNOW THAT THIS SHOULD BE UGLY. She just follows her very well trained artistic taste.

So we are back at the old discusion what is art, art is relative, one think modern is nice others like the oldschool.

My opinion is that we bonsaipeople can experiment a little, but with boundries like respect for the origin of the bonsaiart, may it be penjing or bonsai.
Walter I do not like this pots either for trees, for a accentplanting alongside a big tree perhaps, but because the majority of people dont like it, does not mean we all are lacking taste, we simply like other things/styles.
You like, okay for you, but respect others opinions, may they come from artists or hobbyists like me, with out us where would you be??? No demos and so on......

Kind regards
Peter

Then maybe you should try and explain in a different way. Hans is not the only one offended by your comments.

Pots are really great. Matzeus has impressive career for so young person.

Building technician
Clothing technician – specialty: stylist
Master's degree in ceramics' pattern designing Academy
of Art in Wrocław


Obtained scholarships:

2004/2005 Scholarship of the Academy of Art in Wroclaw
2005/2006 Scholarship of the Academy of Art in Wroclaw
2006/2007 Scholarship of the Minister of Culture of Poland
2007/2008 Scholarship of the Minister of Culture of Poland

Career:
2010.04 Soda firing in contemporary Ceramics taught by Pietro Maddalena
2010.01.23 Individual exhibition of ceramic sculpture "The structures according to the flesh" in the gallery "Long" BOK-International Center for Ceramics in Bolesławiec
2010.01.05-01.18 Participation in the Symposium Nordic Network Keramik Studio Exchange 2010 in Denmark.
2009.10.02 International sculpture triennial “crisis of the genre” Poznań - “Castle” Culture Centre
2009.08 Exhibition entitled “Aquarium of fire” - wood-fired open air ceramics kiln during the Ceramics Days in Bolesławiec, organized by Cultural Centre in Bolesławiec

2009.06 GAR opening your own business with the support of the European Fund for "Human Capital"
2009.03 Qualification for copyright Project "GAR" Program Funds of the European "Human Capital"
2008.10.10-10.20Ceramic Symposium at the Center for Korean Polish outdoor Wrocław Academy of Fine Arts in Luboradowie organized in collaboration with:
Michael Puszczyński ASP Wrocław
Academy of Fine Arts Ceramics Department Wrocław
2008.08.30 Exhibition of the experimental, open air gas-fired ceramics kiln with the reversed current,
organized by Touristic, Sport and Educational Centre in Krosnice.
2008.08.21-08.24 Exhibition entitled “Aquarium of fire” - wood-fired open air ceramics kiln during the Ceramics Days in Boleslawiec, organized by Cultural Centre in Boleslawiec
2008.06.07-06.08 Exhibition of the wood-fired kiln “Aquarium of fire” during the High Temperatures Festival, Academy of Art in Wroclaw
2008.05.30-05.31 Exhibition “Aquarium of fire” - open air ceramics kiln, wood-fired, organized by Touristic, Sport and Educational Centre in Krosnice
2008.05.19-05.22 Construction of the open air coal-fired kiln during the “Aquarium of fire” event in the Academy of Art in Wroclaw Lubardow department
2008.05.12-05.15 Exerimental construction of ceramics kiln types: “Ground” event in the Academy of Art in Wroclaw Lubardow department
2008.05.05-05.07 Exerimental construction of ceramics kiln types: “Roman” event in the Academy of Art in Wroclaw Lubardow department
2008.04.28-04.30 Exerimental construction of ceramics kiln types: “Salt” event in the Academy of Art in Wroclaw Lubardow department
2008.04.11-04.21 Student's Open Air event “SPEC” ceramics making in a kiln type: Tongkama in the Open Air centre of the Academy of Art in Wroclaw, Lubardow department, organized in partnership with the Academy of Art in Wroclaw: Ceramics Faculty
2008.03.10-05.07 Practices in Ceramics Factory “Chodziez” in Chodziez, organized in partnership with prof. Jan Drzewiecki of the Academy of Art in Wroclaw
2007.11.23-12.19 Exhibition entitled “Fire of Art” BWA Design Wroclaw Gallery
2007.09.28-11.12 Ceramics workshop in open air centre of the Academy of Art in Wroclaw, Lubardow department, organized in partnership with: Michał Puszcyński Academy of Art in Wroclaw:
Ceramics Faculty and the Ministry of Culture and National Heritage: Promotion department
2007.08.23-08.25 Exhibition entitled “Aquarium of fire” - wood-fired open air ceramics kiln during the Ceramics Days in Boleslawiec, organized by Cultural Centre in Boleslawiec
2007.06.30-07.29 Practices in Ceramics Factory “Chodziez” in Chodziez, organized in partnership with prof. Jan Drzewiecki of the Academy of Art in Wroclaw
2007.06.22-07.31 Exhibition entitled “Signed with Fire” in the Muzeum on the Szamotuly Castle
2007.06.09 Exhibition of the wood-fired kiln “Aquarium of fire” for the High Temperature Festival
organized by the Academy of Art in Wroclaw
2006.07.07-07.21 Open air ceramics event and the construction of kiln type: Tongkama in the Open Air Centre of the Academy of Art in Wroclaw, Lubardow department, organized in partnership with
Michał Puszczyński Academy of Art: Ceramics Faculty in Wroclaw
2006.06.26 Exhibtion of the making of ceramics with the “Raku” technique on the Lesnica Castle
2006.06.19-07.06 Practices in Ceramics Factory “Chodziez” in Chodziez, organized in partnership with prof. Jan Drzewiecki of the Academy of Art in Wroclaw
2006. 06.26 „Day of the kilns” - knowledge of untypical techniques of creating ceramics and building of open-air kilns – event organized by the Faculty of Ceramics of the Academy of Art in Wroclaw
2006.04.11-05.11 Individual drawings and graphics exhibition entitled “Hard thoughts” in the Academy of Art in Wroclaw
2005.12.02 Construction of the experimental project of a ceramics kiln type: “Raku” in Paczkow
2005.09.19-10.03 Open air Sculpture and Ceramics event in Łeba organized in partnership with prof. Christos Mandzios of the Academy of Art in Wroclaw and City Council of Łeba
2005.08.15-09.05 Open air ceramics event in Belchatow: construction of ceramics kiln of my own design, organized in partnership with Students of the Ceramics Faculty of the Academy of Art
and with Commune Cultural Centre in Belchatow
2005.07.21-07.31 Open air ceramics and the „Ceramidla III” in Bieszczady Mountains and building of the wood-fired ceramics kiln type: „bory-box” in Czerna. Event organized in partnership with „Besida” Bożena Sacharczuk i Tomasz Niedziółka – ASP in Wroclaw – Bieszczady Mountains Social Initiatives Organization, Commune Cultural Centre and the City Council in Czerna
2005.06.26-07.09 Participation in the construction of kiln Totangama in Michał Puszczyński's workshop in Czestochowa
2005.06.14 „Day of the kilns” - knowledge of untypical techniques of creating ceramics and building of open-air kilns – event organized by the Faculty of Ceramics of the Academy of Art in Wroclaw
2005.04.12-04.18 Construction of the experimental project III of a wood-fired ceramics kiln in Paczków
2004.10.08-10.14 Construction of the experimental project II of a wood-fired ceramics kiln in Paczków.
2004.10.29 Open air photography exhibition and presentation of individual achievements of students “Garden of Art” in the Museum of Academy of Art in Wroclaw
2004.08.10-08.19 Construction of the experimental project I of a wood-fired ceramics kiln in Paczków.
2004.07.24-08.08 Open air ceramics and the „Ceramidla II” in Bieszczady Mountains and building of the wood-fired ceramics kiln type: „bory-box” in Czerna. Event organized in partnership with „Besida” Bożena Sacharczuk i Tomasz Niedziółka – ASP in Wroclaw – Bieszczady Mountains Social Initiatives Organization, Commune Cultural Centre and the City Council in Czerna
2004.04.11 „Day of the kilns” - knowledge of untypical techniques of creating ceramics and building of open-air kilns – event organized by the Faculty of Ceramics of the Academy of Art in Wroclaw
2003.10.01 Commenced university studies in Academy of Art in Wroclaw: specialty: Ceramics and Glasses
2002.06.24 My own theatrical collection fashion show „Gipiur's war” during presentations at the end of the course in the School of Designing and Stylization of Clothing „MUR” in Wroclaw – obtained diploma: Clothing technician: designing and stylist
2000.10.02 Commenced learning in the School of Designing and Stylization of Clothing „MUR” in Wrocław

I think this thread is predicated upon two different but possibly inter-related issues:

First is the age-old issue of "should art forms progress?". I have no doubt in my own mind that the "traditional" and the "modern/innovative/whatever you want to call it" can exist side by side. I live in a country with a strong "tradtional music" heritage, and yet over the past 20 years or so many successful musicians have taken that basis and added to it. What they have come up with shakes the purists to the core ("electric guitars in Scottish music! Heaven forfend!") yet it is a vibrant musical art form which is still distinctly Scottish and has it roots in traditional music but without the straightjacket of those things that we call "rules".

Similarly in art. If we had insisted way back in Stone Age that art could only comprise painting bison on cave walls, I am sure that what we'd see today would be a raft of different "styles" of bison paintings - each one of them upsetting some other group's ideal of what bovine representation should be, but all of them equally valid as art. If you'll forgive the pun, Art should not be set in stone but should be allowed to evolve. Otherwise there can be no enrichment of that art whatever form it takes - be it music, painting or bonsai.

The second issue is that if the thing we call "taste". As I said in the first point, art forms evolve. As several respondents on this thread have stated, that doesn't mean we have to like each and every evolutionary step. Just as I like a lot of the Scottish "traditional" music, I also like a lot of the modern variant. That is my personal taste. And just as I like "traditional" bonsai pots, so do I like a great number of the more experimental ones. Consider John Pitt's moon pot at Joy of Bonsai. The tree would have looked good in a traditional pot sitting on a display table. The tree looked wonderful in the more experimental pot and setting. A little bit of breaking the mould resulted in a stupendous and innovative piece of bonsai art that rose above and beyond the "conventional". Imagine a world where someone's rules had prevented him from creating that work.

Is this not a good example of what we're talking about here: the "right" of art forms to evolve away from one person or culture's perceived rules combined with the acceptance that people will always have differing opinions based on their own personal taste and the need to live with the ensuing artistic differences? That sort of artistic evolution should never be denied. But it must be taken along with an understanding that in matters of taste there is no right and wrong. Nothing is as black and white to say that old = bad and new = good, and no-one has the right to say it does.

So here is my "personal taste" regarding Walter's trees and pots: I like the first two and will like them more when the pots become more "aged". I would like to see the trees in traditional pots for the sake of comparison, but that is not to say I would like them or dislike them any the less. I adore the hawthorn - in my opinion the tree pot combination is perfect and presents a unified whole that I don't think could be achieved with a "conventional" pot. I don't like the wooden one for the very irrational reason that it looks like a pig. This is my personal opinion - and I am happy to admit that it is an irrational reason, just as I am quite content for Walter or anyone else to say they like it. But what I am not doing is discounting the idea of wood as a bonsai container out of hand because of one item I don't care for.

So, this thread I suspect will continue to generate polarised debate. That is healthy - as long as we do so without personal insults - real or perceived. The latter achieves nothing other than to make us all look very petty and childish to the outside world.

Andrija Zokic wrote:Pots are really great. Matzeus has impressive career for so young person.

Building technician
Clothing technician – specialty: stylist
Master's degree in ceramics' pattern designing Academy
of Art in Wrocław


Obtained scholarships:

2004/2005 Scholarship of the Academy of Art in Wroclaw
2005/2006 Scholarship of the Academy of Art in Wroclaw
2006/2007 Scholarship of the Minister of Culture of Poland
2007/2008 Scholarship of the Minister of Culture of Poland

Career:
2010.04 Soda firing in contemporary Ceramics taught by Pietro Maddalena
2010.01.23 Individual exhibition of ceramic sculpture "The structures according to the flesh" in the gallery "Long" BOK-International Center for Ceramics in Bolesławiec
2010.01.05-01.18 Participation in the Symposium Nordic Network Keramik Studio Exchange 2010 in Denmark.
2009.10.02 International sculpture triennial “crisis of the genre” Poznań - “Castle” Culture Centre
2009.08 Exhibition entitled “Aquarium of fire” - wood-fired open air ceramics kiln during the Ceramics Days in Bolesławiec, organized by Cultural Centre in Bolesławiec

2009.06 GAR opening your own business with the support of the European Fund for "Human Capital"
2009.03 Qualification for copyright Project "GAR" Program Funds of the European "Human Capital"
2008.10.10-10.20Ceramic Symposium at the Center for Korean Polish outdoor Wrocław Academy of Fine Arts in Luboradowie organized in collaboration with:
Michael Puszczyński ASP Wrocław
Academy of Fine Arts Ceramics Department Wrocław
2008.08.30 Exhibition of the experimental, open air gas-fired ceramics kiln with the reversed current,
organized by Touristic, Sport and Educational Centre in Krosnice.
2008.08.21-08.24 Exhibition entitled “Aquarium of fire” - wood-fired open air ceramics kiln during the Ceramics Days in Boleslawiec, organized by Cultural Centre in Boleslawiec
2008.06.07-06.08 Exhibition of the wood-fired kiln “Aquarium of fire” during the High Temperatures Festival, Academy of Art in Wroclaw
2008.05.30-05.31 Exhibition “Aquarium of fire” - open air ceramics kiln, wood-fired, organized by Touristic, Sport and Educational Centre in Krosnice
2008.05.19-05.22 Construction of the open air coal-fired kiln during the “Aquarium of fire” event in the Academy of Art in Wroclaw Lubardow department
2008.05.12-05.15 Exerimental construction of ceramics kiln types: “Ground” event in the Academy of Art in Wroclaw Lubardow department
2008.05.05-05.07 Exerimental construction of ceramics kiln types: “Roman” event in the Academy of Art in Wroclaw Lubardow department
2008.04.28-04.30 Exerimental construction of ceramics kiln types: “Salt” event in the Academy of Art in Wroclaw Lubardow department
2008.04.11-04.21 Student's Open Air event “SPEC” ceramics making in a kiln type: Tongkama in the Open Air centre of the Academy of Art in Wroclaw, Lubardow department, organized in partnership with the Academy of Art in Wroclaw: Ceramics Faculty
2008.03.10-05.07 Practices in Ceramics Factory “Chodziez” in Chodziez, organized in partnership with prof. Jan Drzewiecki of the Academy of Art in Wroclaw
2007.11.23-12.19 Exhibition entitled “Fire of Art” BWA Design Wroclaw Gallery
2007.09.28-11.12 Ceramics workshop in open air centre of the Academy of Art in Wroclaw, Lubardow department, organized in partnership with: Michał Puszcyński Academy of Art in Wroclaw:
Ceramics Faculty and the Ministry of Culture and National Heritage: Promotion department
2007.08.23-08.25 Exhibition entitled “Aquarium of fire” - wood-fired open air ceramics kiln during the Ceramics Days in Boleslawiec, organized by Cultural Centre in Boleslawiec
2007.06.30-07.29 Practices in Ceramics Factory “Chodziez” in Chodziez, organized in partnership with prof. Jan Drzewiecki of the Academy of Art in Wroclaw
2007.06.22-07.31 Exhibition entitled “Signed with Fire” in the Muzeum on the Szamotuly Castle
2007.06.09 Exhibition of the wood-fired kiln “Aquarium of fire” for the High Temperature Festival
organized by the Academy of Art in Wroclaw
2006.07.07-07.21 Open air ceramics event and the construction of kiln type: Tongkama in the Open Air Centre of the Academy of Art in Wroclaw, Lubardow department, organized in partnership with
Michał Puszczyński Academy of Art: Ceramics Faculty in Wroclaw
2006.06.26 Exhibtion of the making of ceramics with the “Raku” technique on the Lesnica Castle
2006.06.19-07.06 Practices in Ceramics Factory “Chodziez” in Chodziez, organized in partnership with prof. Jan Drzewiecki of the Academy of Art in Wroclaw
2006. 06.26 „Day of the kilns” - knowledge of untypical techniques of creating ceramics and building of open-air kilns – event organized by the Faculty of Ceramics of the Academy of Art in Wroclaw
2006.04.11-05.11 Individual drawings and graphics exhibition entitled “Hard thoughts” in the Academy of Art in Wroclaw
2005.12.02 Construction of the experimental project of a ceramics kiln type: “Raku” in Paczkow
2005.09.19-10.03 Open air Sculpture and Ceramics event in Łeba organized in partnership with prof. Christos Mandzios of the Academy of Art in Wroclaw and City Council of Łeba
2005.08.15-09.05 Open air ceramics event in Belchatow: construction of ceramics kiln of my own design, organized in partnership with Students of the Ceramics Faculty of the Academy of Art
and with Commune Cultural Centre in Belchatow
2005.07.21-07.31 Open air ceramics and the „Ceramidla III” in Bieszczady Mountains and building of the wood-fired ceramics kiln type: „bory-box” in Czerna. Event organized in partnership with „Besida” Bożena Sacharczuk i Tomasz Niedziółka – ASP in Wroclaw – Bieszczady Mountains Social Initiatives Organization, Commune Cultural Centre and the City Council in Czerna
2005.06.26-07.09 Participation in the construction of kiln Totangama in Michał Puszczyński's workshop in Czestochowa
2005.06.14 „Day of the kilns” - knowledge of untypical techniques of creating ceramics and building of open-air kilns – event organized by the Faculty of Ceramics of the Academy of Art in Wroclaw
2005.04.12-04.18 Construction of the experimental project III of a wood-fired ceramics kiln in Paczków
2004.10.08-10.14 Construction of the experimental project II of a wood-fired ceramics kiln in Paczków.
2004.10.29 Open air photography exhibition and presentation of individual achievements of students “Garden of Art” in the Museum of Academy of Art in Wroclaw
2004.08.10-08.19 Construction of the experimental project I of a wood-fired ceramics kiln in Paczków.
2004.07.24-08.08 Open air ceramics and the „Ceramidla II” in Bieszczady Mountains and building of the wood-fired ceramics kiln type: „bory-box” in Czerna. Event organized in partnership with „Besida” Bożena Sacharczuk i Tomasz Niedziółka – ASP in Wroclaw – Bieszczady Mountains Social Initiatives Organization, Commune Cultural Centre and the City Council in Czerna
2004.04.11 „Day of the kilns” - knowledge of untypical techniques of creating ceramics and building of open-air kilns – event organized by the Faculty of Ceramics of the Academy of Art in Wroclaw
2003.10.01 Commenced university studies in Academy of Art in Wroclaw: specialty: Ceramics and Glasses
2002.06.24 My own theatrical collection fashion show „Gipiur's war” during presentations at the end of the course in the School of Designing and Stylization of Clothing „MUR” in Wroclaw – obtained diploma: Clothing technician: designing and stylist
2000.10.02 Commenced learning in the School of Designing and Stylization of Clothing „MUR” in Wrocław

All this looooong and impressive CV, does not necessarily make a pot beautiful to the eyes of every bonsai lover/admirer/hobbyist/artist.

I respect the guy's talent, career and art, but that is all.

Personally i have seen 1 pot of this guy that i liked when it was combined with a tree. I would not use them for my trees because i believe that a pot must bring out the beauty of the tree, like a frame of a beautiful painting, without being too "loud". These pots distract the eye from the tree (my humble opinion), instead of complementing it.

I respect what Walter and all you guys say about art etc, and i am not judging it. But you guys have to respect also what the rest of us say without trying so hard to persuade us that we cannot understand modern art because some lady chose a tree and a pot for an exhibition, or because the guy who makes the pots is an artist in other disciplines.
Sorry for being a bit harsh.

Stavros

Andrija - I do not disrespect the artwork of Matzeus in any way but the tree pot combination shown. That is not the fault of Matzeus. I have the feeling you try to defend him, and i fully understand why. I have seen his website, and there are many beautiful peaces i would love to see in real too. But the pots with the trees shown are absolutely not good in my view. That is not the fault of the tree nor the pot, but the combination of those.

Fiona. I hope I made it clear through my comments, that it is my personal view on bonsai i speak forward, and nothing else but my irrational point of view. But it is important not to be afraid of telling what you think (regardless which position the people you speak up against have, or how they act) especially when something is presented as being better than others. If you don't, everybody think there is only one right way to go.

I too have pots (also by John Pitt) that are not ordinary bonsai pots.
But there are many beautiful works of ceramic that does not fit with a tree, which are beautiful works of art, but looks stupid when a tree is placed in it.

I just find there is more to it than just taking a strange bonsai pot (?) not in harmony with a tree, and call it bonsai and evolution.

Best regards
Morten Albek

Pots are good (even better with the time), trees are good. But there is not mutual harmony? Pots looks very natural, like piece of something what you can find deep in the nature, where the human foot never step. And trees looks like that. I can see the harmony very clear.

I have waited and read this thread with interest before putting in my two penneth.

This is the way I see it. Bonsai = harmonious combination of Tree & Pot, hence the two Kanji that make up the word Bonsai. Walters composition is in my mind a bit of a "Marmite" tree, you either like it or loath it. The composition is just a matter of taste as are all art forms( if Bonsai falls into that catagory, I am not going there). There will be people who praise it and people who despise it, but who can say what is right and what is wrong. Perhaps it does not conform to traditional Bonsai values, perhaps its a new approach to the art of Bonsai. I think its all about pushing boundaries and provoking a response. Whether it is a good or bad response remains only the viewer will decide if they like it or not. Hopefully we can all make a decision and debate, as Fiona says "heathily", without offending each other.

Personally the composition is not too my taste as , IMHO, I feel the pot does not compliment the tree. I like the tree and I like the pot, just not together.

Regards

Andy

Lot of bonsai pots looks like piece of furniture (man made, and I like them), but where is harmony with the tree 600 years old?

Andrija Zokic wrote:Lot of bonsai pots looks like piece of furniture (and I like them), but where is harmony with the tree 600 years old?

I have the same question myself sometimes......
Maybe in your eyes there is harmony but that does not necessarily mean that this is the case.
There are more than one truths.....

Stavros

As I said in my last post, I think this "harmony" we are talking of is achieved almost perfectly in the Crataegus (Hawthorn) and its Mateusz pot that Walter showed. For the reasons I stated it is by far my favourite - but by using the very word "favourite" I am introducing that element of subjectivity that comes through this other thing we call personal taste.

As for the others, well let me return to Walter's BMW exhibition tree. He wrote:

Walter Pall wrote:The art lady came and chose for herself. She has no clue about bonsai, no clue about bonsai tradition ... She chose this mugo pine with 'Queen Maria Theresia's night pot'. She insisted. The more I look at it the more I think the pot is right; especially since it is starting to get patina with algae and moss.

To me this implies that he was not entirely sure at the beginning that the pot was right. There is, IMHO, a very simple and eternal truth in this that maybe we might benefit from remembering. It is quite simply that the shock of the new is relatively short-lived. Keeping an open mind is a prerequisite for the successful evolution of humankind never mind its various Art forms. Today's "new" so often becomes tomorrow's "traditional".


Morten: thank you for your response. IMO you are on of the "gentlemen" of the forum and I find all of your posts delivered in a very mannerly and gentle fashion that still always manages to put across your positive and meaningful points.

fiona wrote: Imagine a world where someone's rules had prevented him from creating that work.

That is the point. Beautifully said.

fiona wrote:
I don't think could be achieved with a "conventional" pot. I don't like the wooden one for the very irrational reason that it looks like a pig. This is my personal opinion - and I am happy to admit that it is an irrational reason, just as I am quite content for Walter or anyone else to say they like it. But what I am not doing is discounting the idea of wood as a bonsai container out of hand because of one item I don't care for.

This is "hit in the center", again!

Walter Pall wrote:
The art lady came and chose for herself. She has no clue about bonsai, no clue about bonsai tradition, she gets paid dearly for her taste.

Morten Albek wrote:
Because this lady pics your tree is not the same as understanding the very special art of bonsai at all.

Tony wrote:
This is like the 'Public' vote on their favorite tree in an exhibition... they usually choose the one that has flowers... because it looks 'nice'

My wife is a professional photographer. Sometimes I will look through pictures with her as she prepares to present them to a client.

On occasion, I will point to one and say, "Wow, I really like that one!" and she will say, "No, that picture is horrible."

To the professional photographer, the artist, the picture is horrible; to the ignorant husband, it is wonderful.

Which of us is right?

I am also reminded of the time a friend's child came to visit, pointed at my ugliest tree, and said she liked that one the most. Why? Because, she said, it looked the most like a tree.

Is it possible to know too much? Is it possible to look with a child's eyes?

This thread has given me much to consider, and I am glad to read this discussion. Thank you all.

pootsie wrote:



To the professional photographer, the artist, the picture is horrible; to the ignorant husband, it is wonderful.

Which of us is right?

I am also reminded of the time a friend's child came to visit, pointed at my ugliest tree, and said she liked that one the most. Why? Because, she said, it looked the most like a tree.

Is it possible to know too much? Is it possible to look with a child's eyes?

This thread has given me much to consider, and I am glad to read this discussion. Thank you all.

The way you nicely put it, tells me just one thing: the truth is not just one, there are many truths. It depends how a person looks at it. Everything is acceptable, some people like a piece of art (in our case tree-pot), some don't.
There is no right or wrong, just different tastes..
What i hate though is to see a person trying to "force" his/her opinion on others coming up with all sorts of valid or invalid points, without respecting their taste or opinion.