.. Don't miss the LIMITED EDITION RANGE of KOWATARI-inspired pots in store TODAY (6PM) at https://europeanbonsaipottercollective.ecwid.com/EBPC....

Thank you for supporting the EBPC and European bonsai potters.

Introducing the ‘MASTERCLASS SERIES’

• Hi David, Thank you for joining us to discuss your new masterclass series.

It is truly a pleasure to see such an intricately designed and refined piece of furniture made in Europe.
Can you tell us more please about the idea behind the Masterclass Series?

• Hi. Yes, of course.

 
After some years of wanting to create more intensive and detailed tables, but never having the time, a client asked me to look out for a best match table for his high level tree. This immediately reignited my aspiration and soon I agreed to making this special table, even if it will take a long time to build.
 
I have always taken inspiration for my tables from museums, antique tables, and the Gafu-ten exhibition in Japan. I read in the book of 'Edoardo Rossi' (Kazari) that there were masterclass tables in Japan, the photos of which were collated  in a book , entitled ‘The book of tables’. This led me to the Idea of offering my clients such a limited series of intricate ‘masterclass tables.’
 

• How many of these masterclass tables will you be making?

 
I will aim to make one a year. The amount of work is very intensive and a table like this takes a lot of  time to design and create. It is hard to know how many I will be able to make as each one will be unique. I will not repeat the same design twice. I cannot  spend all my time on one table like this, so I will need to work on it between other commissions.
 

• The finish is fantastic, can you tell us which wood is this table made from?

 
The wood on the first model is a variant of Sipo wood from old stock I had the chance to buy, most of my money goes into buying rare wood for future projects.
 
I'm now making a second model using Ovangkol wood, which is more often used in musical instruments construction, such as for guitars etc.
I would like to use some Zelkova wood but we have none in Europe that I could find so far.
 
In most cases I like to use exotic wood because of the beautiful grain. The last table that I build for my own collection was from Imbuia wood. I imagine I'm the only one in Belgium with a small amount of this wood as the tree is now protected and export not allowed. Beside this, the wood is very expensive and it would make the total price of work and materials too high I guess.
 

• Can you tell us anything about the exquisite finish on this table?

 
The finish takes many hours of applying layers of oils etc. It also takes a lot of work to meticulously sand all the small details before you can start with the finish. All in all it is the kind of work you need 100% focus for - so it cannot be done in one go, and must be left to rest from time to time.
 

•  These unique tables will no doubt be very collectable items and I expect a great investment for the future?

 
Yes, I think so. Every detail is carefully attended to. The transport case for example, will have a second fabric protection with the DR logo so you will notice directly when the box is opening that a masterclass table is inside.
 
In japan these tables are stocked in a special room separately of other tables because of their value and as a sign of respect.
 
I'm now busy on a new one, which I completely designed myself so I'm almost sure there will not be another like this in the world which for me makes even more interesting .

• Thank you David, it has been a pleasure talking to you and learning about the Masterclass Series! We very much look forward to seeing the next tables. 

Pots by Yaruki Ceramics will be in the EBPC shop on Thursday 8th - and will be sent to buyers DIRECTLY by the artist - from within the EU. ​

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​Perfect training pots for the serious enthusiast and ideal all round growing pots, with multiple advantages over traditional plastic pots.

The design of the pot, not only offers air-pruning technology, to reduced root circling and increase feeder-root mass, it also aids in drainage and air-circulation. Healthier roots mean healthier trees.
 
The potential to ‘guy wire’ rather than wire branches has many advantages, such as less chance of causing wire damage or knocking off almost invisible new buds. 
 

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Antony and Mavourneen Smith ...aka ‘Willow Bonsai Pots’ are a wonderful couple from Pretoria, who have been passionately pushing the boundaries for South African bonsai and have become popular on the European bonsai scene. Antony demonstrated at the U.K. National Bonsai Show 2019, and whilst in London, I took the couple to visit leading potters; Stone Monkey Ceramics and Walsall Studio Ceramics. Having spent some time with them, it really was inspiring to see their dedication to bonsai and to creating attractive, useable and affordable pots.
 
We are excited to announce that Willow Bonsai Pots are producing a limited edition EBPC Stamped range of their beautiful pots, with some of their best forms and glazes. These will be available in the EBPC store, and will be released at ‘The Trophy’ exhibition, in Belgium at the end of February 2020.
 
Congratulations also to Willow Bonsai on their new website – being launched NOW – as this article is published! 

• So please check it out at  www.willowbonsaishop.com

 
But first, you can read more about them and see a selection of their pots on their ‘Potter Profile’ here.

One of the very best Bonsai Exhibitions on the European circuit is now over again for another year - but what a weekend it was! 
Here is a brief overview of parts of the show from the EBPC perspective. 

The EBPC trade stand, as in previous years, is quite imposing at 30ft in length and is beautifully positioned, directly opposite to exhibition trees, yet with maximum space for enthusiasts to browse in comfort.  Pots by over 20 EBPC member potters were available on the stand, the main focus this year was on new pots by: Bryan Albright, Ian Baillie, Me & Raimondi, Guerao and Walsall Studio Ceramics. 

The EBPC had on offer a variety of fantastic new pots from many of europe's leading potters, and enjoyed a very fun and successful weekend trading. We would like to thank not only our customers, both returning and new, but also the fantastic EBPC potter members for creating such wonderful pots especially for the EBPC and its customers; many great pieces were snapped up, and we look forward to seeing more photographs soon in 'Trees in EBPC pots'!  (Please don't forget to send them in! )

In recent years at high level shows such as this, there has been a noticeable increase in the quality of not just the trees, but also the bonsai pots chosen. Many more bonsai artists and hobbyists are learning to appreciate the intricate attributes of high quality bonsai pots and the benefit of their appropriate use.
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This year, a large number of the trees in the exhibition were in high quality European bonsai pots, in addition to Japanese or antique Chinese containers, which made selecting the 'EBPC Best Match European Pot and Tree' winner a difficult task. After much deliberation however, three of the EBPC member potters and myself all agreed on the eventual outcome. 

Which were your favourite Pot / Tree combinations?

This award focuses on the best combination of pot with tree, rather than the best tree or pot in themselves. Myself and 3 EBPC member potters were looking for a balanced harmonious coupling of tree and pot, whereby the pot enhances the overall image and characteristics of the tree, without being an overriding focal point in itself. 
As can be seen above, many of the trees were beautifully paired with their European pots, so this was a difficult call to make, however, each of the judges were in agreement on the winner - this beautiful Ulmus Carpinifolie in a shallow rectangular Bryan Albright bonsai pot by Martin Nielson of Denmark. 

An explanation of our thoughts ... 
- The width of the pot is perfect; it does not 'clash' with the foliage by being the same width, and as the tree is taller than it is wide, the pot width is less than the width of the foliage spread, and by just the right amount.
- The shallow profile of this pot gives this composition a landscape impression of a tree in an open field.
- The shallow pot depth also enhances the trunk of the tree. 
- The straight lines of the rectangle balance the composition and harmonise with the feminine characteristics of the tree.
- This shape does not clash with the round foliage mass as a round pot might.
- The soft glaze in blue with hints of light browns compliments beautifully the colours of the autumnal turning leaves. 
- The 'shibui' form of the pot, together with this soft yet vibrant glaze, do not overpower the tree - but act to emphasise the trunk and the beautiful colour within the well ramified foliage mass. 

The Trophy for this category was made by the fantastic potter; EBPC member, Sabine Besnard and depicts a 'pot & Prunus mume branch in flower,' sculpted from clay and mounted on a beautiful piece of hardwood, with laser inscribed lettering and the stamp marks of Sabine Besnard and the EBPC. 
 

This has covered of course just a fraction of what was on offer at this great exhibition. As a trader it is hard to see or record all of the show, and I was unable to look in on for example the demonstrations by world-leading bonsai artists; Bjorn Bjorholm, Raffael Torres and Jan Culek, although im sure you will find many other blogs about those. 

There were also around 10 EBPC potter members trading themselves, and it was wonderful to catch up with them and our customers and friends from around Europe. A final thank you must go out to the incredible organisers of this event, Fred and Stephanie Chenal, whose tireless work throughout the year make it possible for so many to gain enjoyment from such a well organised and friendly event. ... See you next year!

www.EuropeanBonsaiPotterCollective.com