Entry: Acacia Farnesiana – Needle Bush – Venezuela – WITHDRAWN
ofBonsai Magazine
Before
This tree was collected about a year ago in Venezuela, specifically in the island of Margarita on its shore in a lashed zone and exposed to excessive burning. The native range of Acacia Farnesiana is uncertain, probably from Mexico or Central America but the specie has a pan tropical distribution incorporating northern Australia and southern Asia.
The position which is shown on the first picture, the same it had from the collection moment counts with beautiful dead woods which would be convenient to highlight in the moment of its redesign.
Changing its position respecting to the horizontal view and adjusting its exact front, I will create a much more elegant tree which will let us enjoy from its trunk fulfilled nourish, highlighting the position and the quality of the alive wood’s textures plus the opulence in details from its dead woods. It is also important to consider a future positioning of its foliage thinking in a descending foliage which will join in a subtle way the final movement of the tree towards a much more detailed reading of its interesting base.
The definite pot of this composition is in its design phase, it has not been decided yet.
One Quarter Progression
In this sequence of graphs we can understand with a brief explanation, why the new positioning of the shaft with respect to the horizontal and the new positioning of the front.
Taking off the trunk of the substrate and placing the line in its central axis at about 80 degrees to the horizontal, we will highlight and give presence to the very interesting and natural grace of it, revealing explicitly, its smooth motion in direction to the apex as well as interesting events of life that it presents along its route that contribute with an interesting amount of rate movement to the piece.
The front was selected from this point of view, by the excellent combination of its dead woods with the line of the tree life, which each in turn has a lot of textures that give a lot of dynamism to the trunk.
About its foliage, very little so far, we could understand, that it is being built with an insistent return through its first branch to reroute the visual tour of the tree, toward the most important center of attention or focal point of the composition, which in this case are its dead woods located in the first third of the tree, in addition to giving to the composition a delicate balance, redistributing delicately and in a descending way, the tension towards the empty space on the right side of the composition.
Half Way Progression
In these images, taken a month after its first repositioning with respect to the horizontal, we can appreciate the tree with its new foliage and modeling branch. It should be noted that the modeling of the branches, in addition to fulfilling the needs of design, were also designed with the intention of emphasizing the dramatic nature of this tree’s trunk.
In this collage of photos we can appreciate the excellent natural dead woods that the plant had at the time of collection, they are located on the first third of the tree and will be used as a focal point or Golden point of the final composition.
Here, the fact of seeing through the breakdown of thirds as the golden point in the composition is set in the not-centre of the general level of the graph, giving it a higher dynamism to the composition.
Unlike the previous photos in this collage, we can appreciate the high points, where drastic cuts were made in the living wood at the time of collection, which will have to resume, to create new dead woods that are consistent with the existing ones.
Three Quarter Progression
In these photos, you may already notice the differences in the structure of the foliage, between the second and forced photo and the tree in its current state, here as it is notable, the structure of the composition in a well-defined diagonal, which divides the plane of the background, in two almost equal volumes, requiring the Viewer to keep looking at the visual tour of the plant, from the base of the trunk to the apex and in a downward direction and nonstop in return to the first third, where the focal point of this issue is located.
About the carvings on dead woods, it is important to understand that these must be carried out with a similar to the existing wood character, to not distort the natural sense of them as well as keeping them in a range of lesser importance with respect to existing ones that are the focal point of attention of the tree.
For the definitive planting of this tree, I’m using a kurama that I manufactured a couple of years ago, which was designed to be in horizontal position. Reading this kurama in the strict sense of the design, we note that it emphasizes the horizontality of the sowing element and this would render dynamism to the composition, turning slower the general reading.
To break this old concept of planting, it was studied a repositioning of it with the intention of undertaking a more daring design, which gives it more speed to the dynamics of the composition and talk a little more about the history of this tree and this was achieved, showing more clearly the mouth of the kurama and varying the inclination of it, emphasizing more the fall in its sharpest point and leaving higher the round part of it, using the well-known method of dynamics existing in the wings of Delta aircraft, which helped me to place the item in a dynamic equilibrium position and remove radically the static equilibrium we had in its initial position.
To enable weightless positioning of kurama element in the exhibition space, it was built a very light foot of iron, which will help this daring design be possible.
In these photos you can view the already assembled elements of composition, which let us intuit without being descriptive, the slope of a Rocky Mountain where our tree reigns as an inexhaustible and placid survivor of dramatic events of life.
It is important to note that the careful planting of this tree, took into account, the continuity of the profile of the tree almost strictly consistent with the profile of the kurama, which gives the composition a unique character of symbiosis in the final result of the design. On the other hand, the relative roundness of the kurama on its upper lip invites the Viewer to visit again this beautiful tree, making it almost impossible to remove the view of it.
In this collage of images, I want to highlight two new outbreaks that the tree has on both sides of the trunk in the proposed front, which depending on its future development will be included in the design, enriching it with two new branches.
This graph shows a drawing by idealization of how will the design of this bonsai look like, after its positioning of branches and foliage are being matured.