John hanby has traded in Bonsai in the UK for fifteen years, and his Newstead Bonsai Centre is widely regarded as one of the best nurseries in the UK. He is also at theforefront of Bonsai education i in the UK. Winner of national and international awards, John still finds the time to host and organise the Newstead Extravaganza, a bi-annual Bonsai exhibition and the finest of its kind in the UK.

 

pic1


The Newstead Bonsai Centre has come along way since April 2003 and continues to improve and develop. Even from a frequent visitor like myself there is always something new. What are your hopes for the future of the nursery and what can people expect to see over the next few years?

I suppose that even after almost 5 years the main aim is still one of consolidation and survival. Most people probably have no idea of the huge costs and difficulties involved in acquiring, running, and stocking a 4acre(1.5hectare) site like Newstead especially when you are almost totally dependent on a specialist product like bonsai. I want to continue to provide good raw material at all price levels from both Europe and Japan, together with a good range of more established trees and specimen bonsai from Japan.I hope to enhance our specialization with more Japanese garden materials. We already have a good selection of Maples, cloud trees, granite lanterns, and oriental fencing panels but I am looking to enlarge this and set up some show gardens to give people ideas and inspiration.

The Newstead 3 exhibition is to take place on September the 20th and 21st 2008. Do you have any plans to change its structure for future exhibitions to include trees from Europe in light of announcements made at the Ginko awards this year? Do you expect any knock on effects for the Newstead Exibitions as they will no longer be used for pre selection purposes for Ginko?

Trees from Europe have always been most welcome and at least two featured in our first exhibition. However, it still remains very difficult to attract both trees and visitors from across the water

The Newstead Award Extravaganza was always conceived as a “stand-alone” event but obviously it provided a wonderful opportunity for Danny to select trees from the UK. The format of our event is unlikely to change and we may find that those wishing to stage a major bonsai event in Europe take advantage and use it to select trees. Not everyone wants to show their trees in Europe and incur the costs involved. I hope that more and more people will take pride and satisfaction from seeing their tree exhibited in what appears to have become the Uk’s premier bonsai event. I want it to be something for people to aspire to, to aim for, because this will encourage them to select good material and to do the necessary work on their trees, which in turn has to be good for bonsai in this country.

The Ginko exhibition was known throughout the world as one of the very highest level exhibits of Bonsai Art in Europe. As someone who has exhibited at the Ginko awards, what existing shows will take over the reigns?

I don’t think any show will be able to take over the reigns from the Ginkgo. I hope the selection shows in each country will continue in their own right and as such achieve greater prominence within their own country.Some countries will hold larger international events attracting trees and visitors from other countries but none will be able to emulate the Ginkgo in attracting the best trees from every bonsai artist in every european country together under one roof.

There has been a noticeable decline in attendance and member numbers in many Bonsai clubs and associations in the UK. What impact do you think will have in the development of British Bonsai art?

I don’t think the declining numbers will have a noticeable effect on the future development of bonsai in this country. The clubs do help to encourage and develop newcomers into the hobby but many members find their own level and seem happy to stay there. The people who want to learn and progress will find their own way forward whatever the club scenario.

class

The next generation is very important for the continued development of the art. In Japan the next bonsai masters are being trained by the current, and this practice has happened for centuries. This formal education is something that has been missing in British Bonsai, even in comparison to the rest of Europe. There are signs of this improving, with programs such as your Academy. How important is it for us to improve the level of education in Britain?

Education is very important. Many people can produce a tree but taking that tree from average/mediocre to a very high level is much more difficult. You need different knowledge and technique at each stage of development and for each species/variety. Most of this information is not available in books and relatively few people are in a position to pass on all the required knowledge. This was one of the things that prompted the formation of the academy. I can now teach cultivation, artistry and technique, in a structured course, without the constraints of the student’s own material, but with access to all varieties at all levels to clearly illustrate what’s required. The fact that 43 people enrolled for the first year’s course was really encouraging and illustrates that there are many enthusiasts in the UK who really want to progress further.

Do you believe that British Bonsai needs to find an individual identity to truly advance our art? Kimura himself believes that Europe and America focus to much on trying to recreate Japanese Bonsai without using there own cultures as influences to develop unique styles and practices. This is a sentiment echoed throughout the world. What are your thoughts on this?

It was pictures of the fine Japanese specimen bonsai that inspired many of us to take up the hobby so it is only natural that we should try to re-create these images. Our other source of inspiration is trees we have seen in nature. Sometimes the trees we create may be a combination of the two. I don’t think we have to worry too much about our own identity. We are starting with better material and creating good trees. Bonsai in the Uk has improved tremendously over the past 8 years. While this trend continues I don’t think we have anything to worry about.

You are further along your path of learning than most, what has been the single most important lesson that you have learned so far?

The more you learn the more you realise just how much there is you don’t know. This makes you more determined and more receptive in your quest for knowledge. You must learn as much as possible from your teachers, your students/fellow enthusiasts, and your mistakes.

After your time in Bonsai, do you find it more difficult to draw inspiration for you art? Are there any particular artists that you see as a source of inspiration?

I think it becomes easier to draw inspiration the more experienced and knowledgeable you become. You are able to see so much more both in the material you are working on, and in the trees which inspire you. I think I am inspired more by trees than any particular artist. If you are inspired by a tree it does not matter from which country it came or who created it, other than of course to be able to congratulate them.

What is you favourite species for working and why?

Juniper – especially Chinensis and similar varieties. It is readily available in all sizes and levels. It produces a pleasing image almost from day one which can then be refined to a very high level. Once you have the tree under control you can keep it at that level for a long time. The creation and introduction of deadwood can be quite spectacular which gives the artist even greater scope for self expression. It can be worked on throughout the year and is generally durable/reliable.

You have met many people thanks to Bonsai, who has had the most lasting impression upon you and why?

Many bonsai artists/teachers across Europe owe much of their early inspiration and subsequent progress to Dan Barton…..I am no exception. Dan was a true pioneer of bonsai in the Uk, very knowledgeable and enthusiastic, but also happy to pass on as much information as possible.

Meeting Danny Use was the next major turning point for me. Danny opened my eyes to so much and introduced me to the Japanese way of doing bonsai.

You have created many famous trees, which of these is your personal favorite and why?

The tree I am working on at any given time is the tree which gives me a buzz. After all these years I am happy that this feeling has not been lost.

priv2

A privet I rescued from a soon to be demolished hedge in 2000 does give me alot of pleasure having appeared in the Ginkgo in 2007 and then being selected for an International Bonsai event in Italy in 2008.

priv1



Within Britain there are many native species that lend themselves to Bonsai. For example, the Field Maple has every trait that the Trident maple has, but it is not common to see field maple Bonsai in comparison to trident. Why do you think there is such a desire to work on traditional species used in Asia? And do you think this is a good thing for British Bonsai?

The Field Maple is good but not as good as the Trident. In my opinion the Trident is the best maple for bonsai as it responds so well to our training methods and a refined image can be obtained very quickly. Good Asian material at all levels is generally readily available. Many enthusiasts seem to have great difficulty in finding really goodindigenous raw material. I don’t think this will have any effect on British Bonsai. If a tree is good it is good. If an artist has done a good job he has done well. It does not matter where the material originated from.