Series Ni in Theory

Inspiration

Series Ni began as an exploration to answer the question: How might a bonsai pot be created with a single pour of concrete? Pots like this have been created before, however the quality of the results are usually low. I hadn’t yet come across a concrete pot I thought was comparable in material quality and elegance in form to high-fired ceramic pots. The question might then be better put by adding: How might a show-quality bonsai pot be created…

If creating this type of concrete pot was feasible, I felt the rapidity of the material’s time to set offered an opportunity to focus on a design that could more easily be small-batch manufactured and at a low price point. In product design, it’s considered a unicorn to be able to achieve high quality, low cost, and quick manufacturing. “Better. Faster. Cheaper. Pick two.” Typically one of these factors has to give to get the product to market.

Form

The series’ primary final form was designed relatively quickly in the beginning conceptual phase. I was attracted to the thickness of the form, especially at the 3” mame pot size. Most mame pots made from ceramic have thin walls, creating a relatively delicate, traditionally “feminine” form. Series Ni’s design has a sumo-like visual weight to it, enhanced by the footless design that anchors it to the ground more firmly than similar thick mame pots which have feet, creating a floating effect that conflicts with their visual weight.

The form is arguably platonic, meaning it does not have a personal touch of sculptural authorship. It could have been equally made anytime, from anyone, and any place. The chamfered outer walls begin at thirds vertically, and the height to width/depth ratio is 1:3. The inset aluminum base in placed at the top of the first third. These directions for creating it would produce the same result if followed. What I feel this accomplishes is it shifts the element of authorship from the form to the system of purposeful color and finish selections appropriate to the pot’s use. I see my authorship more in the original colors and methods of coloration (coating vs. dyeing) selected and in the exploration of unique combinations with the Coalesce series. The pot’s literal form becomes a canvas for material discovery.

The form’s platonic nature helps focus my attention more on creating slightly better versions of it each time, rather than reproducing it perfectly according to the first production model. I’ve observed small possibilities for improvement in the details of the mold making, in casting, in mixing the cement and in its composure, surface finishing, and in coating and dyeing. These small improvements create an element of authorship over time.

Function

Where I saw opportunity for innovation in this collection came from the problem of how to handle the base given I wanted to cast this pot with as few finishing steps as possible, while maintaining low cost. I explored multiple directions including 3D printed cleats that could be molded into a base of pervious concrete, a 3D printed base that could be fully inset (once I saw pervious concrete was not going to work), ultimately figuring out that pre-perforated aluminum sheets were the most functional and cost efficient material to be inset while casting.

I felt it was possible to eliminate the need for additional mesh using this method. (However if soil composed of very small particles below 1/8” are used additional mesh is still needed.) The aluminum sheets accomplished this while also increasing the back and forth water drainage and oxygen flow capacity, and providing more options for wiring anchor points through any opening. I selected the size of perforated aluminum based on the size that would allow for almost all soil types to be used without mesh while also allowing larger wire through the holes to anchor as the pot size increases to the 9” model and larger trees as potted.

Material, Color & Finish

The usage of concrete has already been covered. I felt it 1) hasn’t been adequately explored as a high-quality, show-worthy material for bonsai, 2) it offers tremendous cost and time savings and 3) it provides a canvas for many nuanced finishes and surfaces. I initially explored pervious concrete (concrete mixed with high aggregate that allows water to flow through) but abandoned this material due to it being a poor material for roots growing. Once the roots embedded themselves into the small crevasses, repotting would require tearing them or scaping them out, all which feel brutish and anti-bonsai. I don’t like the idea of a pot that encourages the user to rip the roots. The small areas also likely create areas where the roots could grow into, or water could freeze, both of which could prematurely crack the pot. I followed by testing ready made countertop mix (low to no aggregate and fine sand in the cement) which I was not pleased with when finishing the surface which exposes the texture. I pivoted to using a hydraulic expansion cement which creates a very smooth, highly sand-able finish that preserves concrete’s details like air bubbles, which I like in small amounts. (Too many air bubbles indicate poor technique in my opinion.) This cement type is composed of normal Portland cement, plus a stabilizer and expansion component that create an exothermal reaction. It sets very fast, allowing for small-batch manufacturing to be more productive. Each colored pot is composed of this material whereas some models withing the Coalesce collections might utilize other bases of concrete with experimental aggregates or other elements.

With the color selections, I went in two collection directions: one to appeal more to traditional bonsai presentation, Lull, and one to celebrate fruiting and flowering trees with more complimentary impact, Bloom. Lull utilizes dyes (either in mixing or as a post stain), infusing the material with color. These pots in dark and light greens and browns and a rich black version are very matte, focusing the attention less on the pot and more on the tree. (The black version is coated however.) Bloom does quite the opposite. The collection is coated using a paint formulated for harsh outdoor weather and UV conditions, and the color palette is specifically selected to harmonize with many trees such as Ficus, Deshojo Maple, crabapple, Azalea, etc. At first glance, these pots might offput many in the traditional bonsai community; the color is much brighter than even the most color-glazed pots. But once paired with the right tree, I believe a harmony is created.

Finishing of these pots differs across the collections. Lull pots (except black) are sealed with a penetrating epoxy matte sealer which greatly prolongs durability and reduces the likelihood of surface scratching. Bloom pots (including black) are finished with a matte enamel to also increase durability. Depending on the material used in Coalesce pots, either sealing or enameling is used. Additional surface anomalies like air bubbles, small cracks and deformities from molds as they are used and approach decommission are kept. Any anomalies that command too much attention or are too significant for quality standards are deemed pots not viable for sale. Prior to surface finishing, the air escape hole is added to the back of the pot. Which side to place this hole is decided based on the finding the “front” of the pot by visually assessing which side is best to view from considering these small anomaly factors.

The decision to include the Raw version of the pot came from customer request. I was livestreaming the collection on Palmstreet and showed some raw pots in the process of being finished. Some customers really liked these. I hadn’t considered selling them raw due to the form being so different that I felt familiar color selections would be more likely to be adopted, especially by bonsai traditionalists. Unexpectedly, when testing the raw pots I learned that they produce some degree of efflorescence. This phenomenon happens in almost all concrete, unless the purity and proportion of the water used during mixing is strictly controlled. In most applications of concrete, it’s considered a mistake if the presence is high. Personally, I don’t mind some degree of it on these raw pots. I feel it adds a dimension to the material’s unique surface qualities over time. However, being careful to not have too high a presence of salts and minerals (which is essentially what efflorescence is drawing out of the concrete) that could negatively impact the tree’s health is crucial. The balance of these two factors is still being tested to fully understand.

Signature

I wrestled with the signature / logo on these pots tremendously, ultimately deciding to forgo an identifying mark. I first tested molding the logo into the side wall, which worked, however wasn’t viable with the mold silicone after repeat use of no more than 5 molds. I wanted to get at least 50 pots per mold before it had to be retired (for cost purposes) so this wasn’t going to work. I experimented with numerous other ways, none of which worked well or were viable from the cost perspective, or with the small size requirement of the 3” pot with its thin surfaces. I decided that this series was visually unique enough to not need a signature or logo. It can’t be mistaken for any other potter’s work.