Mountain Hemlock
Mountain Hemlock
CA$1,600.00
Tsuga mertensiana, Kengai (Cascade style)
~ 20 years old
Tom Ulecki - Growing Perspectives
TOM ULECKI OF BEST COAST BONSAI X PROPELLOR October 19th - 22nd, 2023
TOM ULECKI OF BEST COAST BONSAI X PROPELLOR October 19th - 22nd, 2023
Tsuga mertensiana, Kengai (Cascade style)
~ 20 years old
Tom Ulecki - Artist Statement
The art of bonsai has allowed me to enter a world where I can explore design and tradition through a living medium. Bonsai is more than just a plant in a pot, it is the relationship created between the container it is housed in and the design of the tree. Those two aspects of bonsai are what separate a common house plant versus a complete bonsai piece. Having apprenticed in Japan at a bonsai nurs- ery and working along with my teacher has opened a world of aesthetics that I respect and appreci- ate greatly. The ancient traditions of bonsai cultivation and the pottery that complements the art form express beauty in subtle but defined ways. In this world, traditions and rules mostly have to be followed and the room for expression has bounds. There are design principles to follow, styles and techniques to adhere to. And while there may not necessarily be the one best pot to match the tree, there are certainly wrong ones. These limits, rules, and traditions are what currently draw me to this art form. They are the polar opposites of the visual arts that I explored prior to my time in Japan. These limits and glacial pace of the art form can almost be seen as counter cultural to the fast paced consumer culture that dominates our modern society.
Prior to beginning entering the world of bonsai I was not aware of these important correlations be- tween the tree and its container. I entered my apprenticeship simply thinking about the trees them- selves. But having spent a year living and working in Osaka, and on my subsequent returns to Japan I was exposed to the aesthetics that are integral to bonsai. Ultimately, it was bonsai that has led me into ceramics. My time in Japan has allowed me to appreciate the beauty of simple line work, of im- perfections and of the idea of age as an aesthetic. In bonsai, time passed is integral to the art form. Older trees, and older pottery are often revered. Pots which have stood the test of time, and devel- oped patina are paired with the oldest and most treasured trees. This concept is a sharp contrast to the contemporary art world that I have also explored through my visual arts, where fresh new con- cepts and boundary pushing take priority. In the art of bonsai, pushing the boundaries is still possible, but it is much more restrained. This restraint is quite welcoming, it has allowed me to prioritize the at- tention to detail and execution over expression and concept. It’s a welcome challenge to work within boundaries, and try to create something that is still yours within it.
The pottery for bonsai cannot outshine the tree and vice versa. With this in mind, I often use matte glazes or the clay itself in the finished pot. I prefer to use the traditional way to make smaller bonsai pots, which is using the ‘Horinuki’ technique. Using this technique each pot has a unique feel to it while being structurally strong. Simple, practical and natural finishes are the predominant themes of my ceramic work. I prefer not to use molds and wheels to avoid the production feel of my pottery. Each pot that I make is quite often a one off, and I rarely repeat my designs. For me, the goal isn’t pro- duction pottery, it’s creating a variety of pots with the hope each unique pot ultimately finds the best tree to match it.
Working with bonsai and ceramics has allowed me to pair my passions for the environment and art into one field. It has been a winding journey to get to this point, and one I could not have seen coming in my youth, but now that I’m here it feels obvious. Working with a medium that is a living object requires a level of attention and dedication that is quite rare in our world. There is a gravitas to taking care of a tree that could be older than yourself. Cutting an old branch will forever change the tree and mistakes cannot be undone. This sense of finality in bonsai is a very unique and often a satis- fying part of the process for me. The appeal of bonsai to me doesn’t come from any inherent calm- ness of the art, in many ways it’s the big, often stressful decisions that bring satisfaction. It’s the design process that aims to make small trees look big. And it’s the ceramics that are beautiful yet practical that work harmoniously with the tree and elevate both.