MACH5
Imperial Masterpiece
I recently started the thread "NOT SHOHIN" [https://www.bonsainut.com/threads/not-shohin.26588/] in the general discussion forum regarding a collaboration with ceramist extraordinaire Roy Minarai. I had an idea about doing a forest composition that was to be planted on an unusually proportioned container roughly 30" long and 10" wide. I contacted Roy to see if he could make such a pot. He agreed, much to my surprise, since I thought he only made beautiful shohin pots. Now I know! I believe this is by far Roy’s largest pot to date.
I wanted this project to be more a collaborative effort. I sent Roy a sketch of what I had in mind. I told him to choose the glaze and any other artistic touches and/or details he wanted to incorporate. The very long pot was successfully fired without suffering a single crack and with just minimal warping. I am unsure as to how he pulled it off, but he did!
It was an honor to have the opportunity to work with Roy, who is quickly becoming one of the most exciting ceramists of his generation. Check out his article in the latest issue of Bonsai Focus. I look forward to unique and innovative collaborations with him in the future.
Below is the sketch I sent Roy back in January 2017.
The pot has Roy's signature dripping glaze with a subtle wash of moss green around the edges. It was carefully and solidly constructed with plenty of holes for excellent drainage.
The main tree I used was a maple [ https://www.bonsainut.com/threads/colin-lewis-multi-trunk-a-palmatum.25844/ ] that I had styled several weeks before. It served in part as my inspiration to create this forest and decided to use it in the composition. The "coast to coast" maple forest was originally conceived as a mixed planting using other deciduous species. The idea was later abandoned after failing to obtain the necessary materials.
The main tree in place: Out of its Koyo pot and into the Minarai.
A few shots of the work in progress.
Here is the work completed for now. Not nearly as many trees were used as I had anticipated. Probably shy of 50 Japanese maples. The design will keep improving as the trees settle in and mature as they grow together. I look forward to its future development.
I wanted this project to be more a collaborative effort. I sent Roy a sketch of what I had in mind. I told him to choose the glaze and any other artistic touches and/or details he wanted to incorporate. The very long pot was successfully fired without suffering a single crack and with just minimal warping. I am unsure as to how he pulled it off, but he did!
It was an honor to have the opportunity to work with Roy, who is quickly becoming one of the most exciting ceramists of his generation. Check out his article in the latest issue of Bonsai Focus. I look forward to unique and innovative collaborations with him in the future.
Below is the sketch I sent Roy back in January 2017.
The pot has Roy's signature dripping glaze with a subtle wash of moss green around the edges. It was carefully and solidly constructed with plenty of holes for excellent drainage.
The main tree I used was a maple [ https://www.bonsainut.com/threads/colin-lewis-multi-trunk-a-palmatum.25844/ ] that I had styled several weeks before. It served in part as my inspiration to create this forest and decided to use it in the composition. The "coast to coast" maple forest was originally conceived as a mixed planting using other deciduous species. The idea was later abandoned after failing to obtain the necessary materials.
The main tree in place: Out of its Koyo pot and into the Minarai.
A few shots of the work in progress.
Here is the work completed for now. Not nearly as many trees were used as I had anticipated. Probably shy of 50 Japanese maples. The design will keep improving as the trees settle in and mature as they grow together. I look forward to its future development.
