How I first encountered Japanese culture and came to experience bonsai

My first encounter with Japanese culture was as a child when my father, who was a judo sensei and part of the Swedish national judo team, introduced me to the dojo. To this day I still remember the black and white photo portraits of the Japanese masters hanging on the walls, whose eyes seemed to follow me in the dojo and reminded me of the respect and tradition.

My family lived in a log cabin in the forest that my father Thor Holvila senior built log by log. In the forest I encountered the old spruces and oaks and at the large bog I admired the small pines that had found a place for themselves in the acidic environment. But it was on my first mountain hike that I as a young adult came across windswept miniature trees, yamadori, which I dug up and brought home with me. Since I was already working with ceramics, the step to making my own pots came natural.

What I learned and felt during my apprenticeship in Tokoname

My collaboration with Hidemi Kataoka, from Yoshimura kiln in Tokoname, was based on developing some of the elements of bonsai pottery. The aesthetics around the feet of the pot, the process of drying, the tools developed through generations of Japanese potters.

But for me it was extremely educational to work under a master and understand the origins of why the work of bonsai pottery looks the way it does. We are actually just creating a “half”of a piece of art which is not complete until a tree is planted in the pot. This means that we have to follow the needs that the bonsai masters demand. This means that the space for free creation is limited. It was useful for me to realize.

Memorable stories with my master

I still often hear the words of my sensei Hidemi Kataoka in my head when I work in my own studio. It is like he is still watching over my shoulder, especially when I encounter difficulties.

I also remember when Hidemi took me to the Buddhist temple and showed me the origin of the aesthetics that shaped the Japanese pots - The incense burners and the large stone water vessels gave the shape of the bonsai pot. It gave me the realization that I had to find my own forms that were rooted in Scandinavian culture and not copy designs I couldn't understand, no matter how much I wanted to. Hidemi showed me the freedom that lies in limitations.

Did becoming a professional change how I approach bonsai pottery?

As a hobby bonsai potter, you can sit with a pot forever, filing and tinkering until you are satisfied. As a professional, you have to have a steady line of production and therefore find a tempo that works for you.

I decided not to go into factory production, but instead to continue creating unique pieces at a higher price. That's how I found my niche in a highly competitive industry. I also realized that it was no longer enough to be a skilled craftsman and artist, I also needed to learn how to administer a website with a webshop, take photographs and handle marketing and PR. In addition to this, I also had to be able to manage the finances and have a forward-looking approach. If you are not going to increase production and hire employees, you also have to handle everything yourself. However, this allows me to make quick decisions and adapt quickly to the market and demand.

My thoughts when establishing my business in Sweden 

Sweden and Scandinavia has a very small market for bonsai, as the growing season in the North is short and there is a limitation on species that thrive in our climate. Therefore, I early made the decision to turn to the international market.

As my style is influenced by my Nordic identity with a love for the rough and natural, I found that my customers were in the northern parts of the USA and Canada. To this I also added a line of colorful pots that appealed to the southern parts of Europe and Americas, where the focus is very much on flowering trees and where the culture is characterized by color, unlike the earthy colors I usually worked with. For the Japanese market I make smaller pots (mame) wich I sell through a retailer in Tokyo who have a physical store.

The appeal of bonsai as perceived by Thor Holvila

In Scandinavia we have an old tradition that trees are sacred and have a direct relationship with the old gods. In every garden in Sweden grows what we call a “Care Tree”, at its roots we have always imagined that the spirits of our family live on and our duty is to provide them with food in the form of offerings and keep the tree alive generation after generation. For me, personally, the tree is my ideal. A creature that has settled down for good, with its roots deep in the soil and with a striving towards the light. Strong, stubborn and proud it holds its place.

In bonsai I believe that the tree radiates perfection, while the pot should reflect man, with his “faults and shortcomings”. My belief is that we should not compete with nature, but find our place in the order and realize our limitations. “God made tree, man made pot.”, as I usually say.

Thoughts on encountering Japanese crafts, artisans, and craftsmanship

I have a high admiration for Japanese crafts, artisans, and craftsmanship. Not just the refined tehniques but also the discipline, persistence, and a belief in the future that is open to change are things I carry with me above all. In the West, you have to break all the rules to stand out and gain value as an artist, but my time in Japan taught me that in order to take a leap, the rock you stand on must be solid and grounded in craftsmanship. In these times when everyone wants to learn fast and doesn't "have time" to go the long way, it is even more important to carry with you. It was already within me but was confirmed even more after my time in Japan. One foot in tradition and one foot in the unknown has become the way forward for me.

A dream is to have a major exhibition in Japan where I can showcase my work and show how I have managed my craftsmanship, grounded in the Japanese aesthetic. Another goal is to finally get my own bonsai to a degree where I can exhibit them here in Sweden and show this wonderfull art for the scandinavian public.