Italian Bonsai Master Marco Invernizzi

My meeting with Marco Invernizzi, an Italian bonsai master, takes place at the Kokufu Bonsai-Ten, the most prestigious bonsai exhibition in the world. Surrounded by miniature trees, expressions of centuries of tradition, we talk about Marco's interesting life and professional career.

Photos by Matteo Belfiore

His passion for bonsai was born during his adolescence, watching the movie Karate Kid. "It was 1991, and I was studying at the Istituto d'Arte Beato Angelico in Milan," Marco says. "I wasn't particularly attracted to religious art, but the applied arts they taught there were of the highest level. At the same time, I felt lost—I was an only child, my parents were often away and I was looking for something to connect with. Then I saw Karate Kid and I was fascinated by bonsai." His mother, sensing his predisposition, gave him a bonsai for Christmas. "I was very happy, but I quickly realized that I didn't know how to take care of it," he laughs. "That's when I decided to learn seriously."

What started out as curiosity soon turned into a deep dedication. Marco recounts how his first attempts at bonsai were failures. Instead of giving up, he sought the advice of experts. He took courses, read books, and experimented with different techniques. "There was something about the patience and precision required that resonated with me," he reflects. "It wasn't just about growing a plant, but about understanding time, nature, and myself." The next step was to take a bonsai course in Milan, where he met his first teacher. "It was like an explosion of knowledge and inspiration. I absorbed everything like a dry sponge," he says.

Over the next few years, his passion for bonsai grew. Meeting Masahiko Kimura, the most renowned Japanese bonsai artist, became a turning point for him personally and professionally. "Meeting Kimura was like a guitarist meeting Jimi Hendrix or an actor meeting Robert De Niro," Marco explains. "I first saw his work in photographs, and then in 1993 I came to Japan for the Kokufu Bonsai-Ten, just as we are here today. When I met him, I immediately knew I wanted to study with him." The memory of that moment still seems to stir him as he recounts the breathtaking beauty of Kimura's bonsai at that time. "They had a soul, an undeniable presence," he says. "It was more than just technical skill—it was an art form that carried a deep emotional weight."

Becoming Kimura's apprentice, however, was no easy feat. "In 1997, I was the first serious foreign student to come with the intention of staying long-term. Kimura had seen other foreigners come and go, only staying a month to play around, but I was there to really commit." The early days were very arduous. "He didn't speak English and I didn't speak Japanese. Communication was almost nonexistent, but I quickly learned that in a bonsai garden, words aren't as important as actions." The experience was a total immersion—learning through observation, imitation, and perseverance. "Every day was a lesson in discipline and humility. There were no shortcuts, no easy answers. If I wanted to learn, I had to dedicate myself completely."

During this experience with Master Kimura, Marco had to continually prove himself. "When I arrived, the senior apprentices watched me work and were amazed. One of them asked me, 'Where did you learn this?' and I said, 'In Italy.' That's when they realized I wasn't just another tourist. Within a few months, I was doing the same level of work as the more experienced apprentices." That period was a turning point and also a confirmation that the years of study and practice in Italy had prepared him for that demanding environment. "But even then, I knew I was just getting started," he adds. "Bonsai mastery is not about reaching an end goal, but about constant growth."

Working under Master Kimura was grueling. "Japanese apprenticeship is intense. In the traditional teacher-student relationship, you don't just follow instructions—you anticipate them. You have to understand what needs to be done before the master even tells you. If everyone is turning to the right, you have to be ahead, moving in the same direction." Marco quickly adapted, demonstrating not only his technical skill but also his dedication to the art of bonsai. "Kimura saw that I was willing to give my all for bonsai. Passion and intensity mattered more than perfect execution." The demands of the apprenticeship tested him, but he never wavered. "Every tree I worked on, every branch I shaped, was an opportunity to sharpen my understanding. The smallest details mattered.

"After years of hard work, Marco decided to go his own way. "At some point, you have to ‘kill the master,’ so to speak. It’s part of growing as an artist. Kimura and I have had our challenges, especially in recent years, but I remain incredibly proud to have been his disciple." Returning to Italy, Marco was instrumental in revolutionizing the European bonsai scene, especially by importing high-quality trees from Japan. "I saw that in Europe, people were working with poor materials. I knew where to find the best trees, and when I brought them, people couldn’t believe the difference. It was like introducing fine dining to a place that had only known plain food." His influence extended beyond just materials—he also worked to change mindsets, encouraging a deeper appreciation for the philosophy behind bonsai.

As we strolled through the exhibition, Marco shared his thoughts on bonsai as an art form. "Bonsai is a balance between nature and human intervention. It must look ancient, yet natural. The greatest bonsai don’t just imitate trees; they capture the essence of time itself." We drew comparisons with other Japanese arts, especially the cuisine. "Like in Japanese cuisine, where a chef transforms a simple ingredient into something extraordinary, a bonsai artist finds hidden potential in raw material and brings it to life." His words carried the weight of experience, revealing his deep reverence for the craft.

I asked Marco if the art of bonsai is also related to the Japanese concept of wabi-sabi, the Japanese aesthetic of imperfection and transience. "A bonsai should carry the marks of its life—its struggles, its history. Just like in people, these imperfections make it unique. The most valuable bonsai aren’t just beautiful; they tell a story." The philosophy resonated deeply with me, as I reflected on how the trees before us had been shaped by decades, sometimes centuries, of careful cultivation.

We reflect on the concept of time and impermanence in the Japanese culture and how this influences bonsai. "Bonsai is a time machine. We work in the present, based on the past, always thinking about the future. A true bonsai artist isn’t just creating for today—he’s shaping something that will live beyond him." His words remind me that bonsai, like all great art, is a reflection of time, patience, and dedication. “I think, in the end, it can be said that bonsai is the art of four dimensions,” he said. “All the hard work I have done in Japan has allowed me to practice and teach bonsai at the highest levels in the West, win awards, and become the first non-Japanese to be a member of the Japan Bonsai Masters Association.”

Another significant event made this year’s Kokufu Bonsai-Ten even more special: for the first time in the history of the show, a Westerner won first prize. The Italian Giovanni Americano, one of Marco’s clients, won with a trident maple created with Master Shinji Suzuki. This represents a turning point in the world of bonsai, demonstrating how this art form is becoming increasingly global, maintaining its roots in Japanese tradition, but opening up to the entire world.

As our conversation drew to a close, I asked Marco about the future of bonsai and its role in a world where humanity is increasingly disconnected from nature. “It is in the act of investing meaning into an inanimate yet living object, bonsai, that human beings rediscover the true value of nature. Bonsai allows us to reconnect with the natural world, a world from which we have become increasingly disconnected. Today, we consume nature’s products without ever having direct contact with the earth. This is why it is beautiful that people dedicate themselves to the art of bonsai—it brings them back in touch with nature.”

Standing among the masterpieces of the Kokufu Bonsai-Ten, I realized that bonsai is more than just an art; it is a way of seeing the world, a meditation on nature and time. In Marco Invernizzi’s journey, I saw the perfect embodiment of this philosophy—a passion cultivated over decades, rooted in tradition yet always evolving toward the future.