#101 EspritBonsaiInternational - 23
andbooks.I triedtoabsorballI couldof
1995,attheageof22,I becamea full-time
to know the technique. It is the first step
in eventually achieving knowledge. One
cannot create works of art without mas-
tering the technique to the extent that
it becomes second nature to the artist,
so that the creative process is fluid and
natural and that the creator becomes one
with his or her tree.
E.B.I.: What are your sources of inspi-
ration – where do you look?
D.B.: I draw inspiration from large trees and
landscapes, mountains, birds that hunt for
insects under the bark of a pine and •••
David Benavente works on a Pinus
pentaphylla in his workshop where a precious
collection of Japanese pots are on display
A springtime view of the garden whose saffron-coloured
walls serve as a screen to the skillfully placed bonsai.
This Juniperus chinensis ‘Itoigawa’ in a Gyozan pot won first prize in
the Dai category at the 2019 UBE convention. It was also awarded
prizes by the Asociación Bonsái Español (ABE) and at the 2019
Trophy (in Belgium) among others. Height: 82 cm (32¼ in.).
A Pinus pentaphylla after the completion of
major work on wiring and dead wood. Height:
75 cm (29½ in.), width: 105 cm (41⅜ in.)
own garden in the hills near Madrid, where
my work can evolve in a space dedicated
to calm, emotion and beauty – a place
where all bonsai lovers whatever their level
are always welcome.I rejoice in the fact
that my town has become the Mecca of
European bonsai and that, outside Japan,
it has become the preferred destination
for bonsai lovers of all nationalities.
E.B.I.: How would you define your rela-
tionship with trees?
D.B.: I have been through various phases.
From the start, it seemed to me essential