He came out into the entrance court and contemplated his bonsai.
Early sun gold-frosted the horizontal upper foliage of the old tree and brought its gnarled limbs into sharp relief, tough brown-gray and crevices of velvet. Only the companion of a bonsai (there are owners of bonsai, but they are of a lesser breed) fully understands the relationship. There is an exclusive and individual treeness to the tree because it is a living thing, and living things change, and there are definite ways in which the tree desires to change. A man sees the tree and in his mind makes certain extensions and extrapolations of what he sees, and sets about making them happen. The tree in turn will do only what a tree can do, will resist to the death any attempt to do what it cannot do, or to do it in less time than it needs. The shaping of a bonsai is therefore always a compromise and always a cooperation. A man cannot create a bonsai, nor can a tree; it takes both and they must understand each other. It takes a long time to do that. One memorizes one’s bonsai, every twig, the angle of every crevice and needle, and, lying awake at night or in a pause a thousand miles away, one recalls this or that line or mass, one makes one’s plans. With wire and water and light, with tilting and with the planting of water-robbing weeds or heavy root-shading ground cover, one explains to the tree what one wants, and if the explanation is well enough made, and there is great enough understanding, the tree will respond and obey—almost. Always there will be its own self-respecting, highly individual variation: Very well, I shall do what you want, but I will do it my own way. And for those variations, the tree is always willing to present a clear and logical explanation, and more often than not (almost smiling) it will make clear to the man that he could have avoided it if his understanding had been better.
It is the slowest sculpture in the world, and there is, at times, doubt as to which is being sculpted, man or tree.
-- Theodore Sturgeon, "Slow Sculpture" (1970)