Walter Pall's main blog about bonsai and his work with trees from day to day. Lots of good pictures of good trees and lots of valuable information about bonsai.
Hello Walter.Your creations are modern art -- they should be in the finest galleries. Your tree's structure, the way they move through space (particularly these larch)-- beyond belief! Your trees are of course very natural, but nature is not always especially esthetic or evocative (it needn't be any way), so there is much more to your art than naturalness; it is, as you say, a naturalistic "style," and the genius of it is that the need for structure and composition is always satisfied (in brilliant, unexpected ways) and is so expertly, and unobtrusively realized that it appears utterly untouched by human hand. This illusion of nature combined with the drama of the image creates nearly magical experience. I have had several of these authentic "magic" moments in nature looking at especially interesting, evocative trees. This sort of experience always puts me to the question, "Why should nature make something that my senses find so deeply affecting?" It cannot be mere coincidence that nature has produced an image that moves my spirit? Hardly. Nature, in both more and less senses, determines for us our eyes affections. Beauty, grandeur, power, grace, drama, irony, cruelty, are senseless ideas when one attempts to consider them outside of their intial origins -- and ultimate bounds -- in nature. It is a matter of coincidence and natural cause-and-effect that the tree in nature is shaped such-and-such a way, but it is not a coincidence that we are affected by its shape or that we experience its form as magical in light of it's natural production. The very experiences that nature elicits from us are in some sense, hard-wired and emerge from our most basic, and primitive spatial schemas of our environment. And where else does our visual organization and appreciation of things emerge if not from nature, and ultimately, in service of nature? We abstract from nature and distill its' many form's affects on the human eye and adopt "rules" of composition and structure (essentially, rules of human perception), but the existence of these "rules" and their ultimate grounding lies in something unanalyzable and ultimately primitive, ultimately mysterious and magical. Through dramatic forms and effortless naturalism you create this magic in your trees. Wonderful works Walter.Regards from Canada- Jeremy
Jeremy,thank you for the kind words. How about a halo for me when I come to Toronto this year? :-) Copy this to our friend Reiner Goebel.Walter
I'm afraid I haven't had the pleasure of Mr. Goebel's aquaintance, but from the little I know of him, the less it bothers me that I haven't. Warmest regards,Jeremy
Hi Mr. Pall. I really admire your work and your sense of grace of the trees design.In the moment I am working on a extensive shari on one of my larches, and I wonder - can you give me advice in indentifying live veins on the tree. I mean is the larch able to redirect sap flow on another live vein as is in pines or its habit is more like junipers? Never before made a shari on larch only on junipers and don't want to make some stupid mistake.Regards Kiril
Kiril,larches react vey much like pines. So you can create shari lines if you work carefully. They will callous over and the larch will create a strong life line. But you do this only on very healthy trees. Best time is in spring, in April in my area.Walter
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