Category Archives: Art

Garden Hits and Misses

September 30th, 2018 | 13 Comments »

At home after three marvellous weeks visiting gardens (and  friends) in England, I find much to criticize in my garden. After many years of travelling, I’ve come to expect this — and to accept that a garden in Quebec’s harsh weather conditions will never resemble an English garden, with its lush foliage and flowers, topiary and ancient walls.

I’ve also come to expect that gardens other than my own will disappoint me.

On every tour I’ve hosted, there has always been one garden I particularly looked forward to seeing. On this trip, that garden was Boughton House, in Northumberlandshire. It wasn’t the flowers or the historically significant 18th landscape that was the big draw, it was Orpheus, a contemporary work of art by the English landscape architect Kim Wilkie.

I’ve seen Wilkie’s landforms at Great Fosters, near London, and at Longwood Gardens in Pennsylvania. At both I admired the clarity of form, the precision of line, and the effectiveness of the work in its setting. This admiration made me eager to see Wilkie’s work at Boughton, where a pyramid, inverted to descend underground, mirrors the shape and proportions of an 18th century mound nearby.

The 18th century garden is superb and the restoration of the fountain and the Grand Etang fittingly grand for a house built along the lines of Versailles.

 

The fountain rises 70 feet into the air. On a sunny day it is beautiful to see. It works via a remote control!
The fountain that works via remote control rises 70 feet into the air. On a sunny day it is beautiful to see.

 

Orpheus, however, left much to be desired.

The original gardens date from 1684, when John, the first Duke of Montagu, laid out a design based on the golden ratio, the golden spiral and golden sections. (There are many explanations of this idea on-line.) Wilkie used the same principle for Orpheus, and conceptually the project is brilliant in the way it relates the new, both to the old and to the surrounding landscape.

 

Orpheus descends underground in front of The Mount that dates from the 18th century.
Orpheus, only partly visible, echoes the shape of The Mount behind it.

 

By naming the earth work Orpheus, after the mythological Greek musician who rescued his wife Eurydice from the underworld through the beauty of his music, Wilkie connected the contemporary work to the Enlightenment ideas that formed the basis of the garden’s original design. Using the proportions of the adjacent Mount, he created a massive 160 square foot inverted grass pyramid with a sunken pool at the bottom. At ground level he added a stone rill and a series of grass sections that follow a golden spiral. Finishing the project he placed the outline of a cube, creating negative space above as he had created negative space below.

So why was Orpheus a disappointment?

First, I couldn’t really see it. To appreciate the design, I needed to see it from above. From ground level, the idea is clear but the impact is absent. Could I have climbed the Mount? Possibly, but whether through on-site restrictions or lack of time, that didn’t happen.

 

Boughton House (5 of 10)
I liked the colour contrast, white against green.

 

Second, too many technical aspects fell short. The lines of the grass banks, so important to the design, were clean and sharp but bare patches of ground were distracting. So was the algae marring what should have been clear, reflective water.

 

Bare dirt spoils the clean lines of the earth form.
At the bottom left of the photo is another distraction — a metal man-hole cover. It may be necessary but its presence spoils what should be a pristine form.

 

This summer in England was particularly dry, and a lack of rain could explain why the grass has not grown well. But it does not explain the condition of the stone rill, besmirched by bird droppings.

Most troubling was the absence of moving water in the rill itself. According to our guide, the water is rarely turned on for fear that the sunken pool will overflow and create additional problems for one side of the pyramid where an underground spring has already caused the bank to slip several times.

 

Boughton House (4 of 10)
Standing water beneath the cube suggests that the surface is not perfectly level.

 

I wanted to fall in love with Orpheus. The photographs I had seen of it told me I would. But I didn’t.

Nor did I react positively to Life Force by Angela Connor.

 

Boughton House (1 of 10)
The brownish red cord which is meant to suggest a vein surfaces several times along the top of an old stew pond. I wish all of it had remained hidden underground.

 

As for the flowery bits in the garden, the less said, the better.

 

The up-turned stumps that appeared in several places felt arbitrary and out of place in the Walled Garden.
The up-turned stumps that appeared in several places felt arbitrary and out of place in the Walled Garden.

 

The visit was far from a disaster, though, as other parts of Boughton’s landscape delighted me. I liked the serenity of the canal that stretched alongside an avenue of ancient trees.

 

The canal
The 18th century canal was re-lined not long ago as part of a restoration project that began in 1975.

 

A new grove of trees, where youngsters stood in orderly rows alongside grandparent trees, filled me with admiration. Will the grandparents be replaced by another generation as they themselves begin to fail?

 

The levels of light and shade changed constantly on the day we visited Boughton, creating different atmospheres and attitudes.
The levels of light and shade changed constantly on the day we visited Boughton, creating atmospheres that were alternately lively and serene.

 

The tree-lined view that stretched out to tomorrow was beautiful in its simplicity. This aspect of the garden underlined the long-term commitment made by the 9th and 10th Dukes of Buccleuch to rejuvenate this ancestral landscape.

 

You can't see the public road that crosses the open space but cars and trucks were occasionally visible.
These trees are part of the two miles of lime trees that have been replanted since 1975.

 

I admire enormously the restoration work going on at Boughton House. The scope of the work is daunting: formal areas cover 100 acres and there are an additional 450 acres within the original 15th century deer park. I admire equally the intention behind Wilkie’s Orpheus and the desire on the part of the current Duke of Buccleuch and his wife to add a contemporary edge to this magnificent setting. I only wish the reality of Orpheus matched its intent.

 


Over the next few weeks I’ll review other gardens I visited on this tour. There will definitely be some hits — and at least one more miss.

What about you? Have you visited a great garden recently? If you visited one that let you down, have you written about it? Evaluating a garden rather than simply describing it takes time and thoughtful consideration. It means looking at the designer’s intentions and deciding how successfully they were executed. Sharing critical views means putting yourself on the line and taking gardens seriously. I think that is something worth doing.

 

 

The Clearing of the Land

August 6th, 2018 | 15 Comments »
This is how the water meadow looked in 2009 after we first cut a path through it.
For several years now I've been working on a trail that leads through the fields and forests at Glen Villa. Sited along the trail are art installations I'm creating that relate to history, the passage of time and the relationship between art and architecture. I wrote about this for the first time in March 2017. My focus then was to figure out what to call the trail. Thanks to my granddaughter Elinor, there now is a name. Timelines. I like the name. It is short and direct yet suggestive of something

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As the Garden Turns

April 22nd, 2018 | 12 Comments »
This garden in the Eastern Townships has a splendid view out over the countryside.
Does your garden turn its face to the world or does it veil it off?  The difference says a lot, about you and the style of your garden -- and about the spirit of the times. Recently I spoke to several groups about how to get the most out of garden visits.  Learning to Look: the Art of Garden Observation considers what it takes to really see a garden. A handout for the talk asks some key questions, starting with the garden's context.  How does it relate to the world around it? Is it open to its surroundings or closed off? Topography

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The Upper Room in Winter

March 25th, 2018 | 16 Comments »
The Upper Room is pristine in the morning light.
The Upper Room is as glorious in winter as it is in spring, summer and fall. The highlight in every season is the beautiful screen outlining the bare branches of a dogwood tree.   [caption id="attachment_6101" align="aligncenter" width="5184"] The Upper Room stands tall in the morning light.[/caption]   Drawn by the Montreal artist Mary Martha Guy, the tree branches become more starkly striking with the late afternoon sun shining through.   [caption id="attachment_6092" align="aligncenter" width="2862"] The screen is a symphony of blacks, whites and shafts of light.[/caption]   A close-up of four

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Art in Winter

December 11th, 2017 | 18 Comments »
The shape of the crabapple tree becomes dramatic when outlined with snow.
I woke yesterday to a fine dusting of snow, and during the day more snow fell. Today it outlines the branches of the big oak tree by our boathouse and the old crabapple trees by the drive, emphasizing the contrast between rough bark and soft fluffy white.   [caption id="attachment_5887" align="aligncenter" width="3888"] The shape of the crabapple trees becomes dramatic when outlined with snow.[/caption]   The forecast calls for more snow to come, and as confirmation, the sky is grey. But once the snow stops and the barometer rises, the sky will be a clear, bright blue

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Metis International Garden Festival

August 22nd, 2017 | 6 Comments »
The optical illusion never fails to delight.
  Recently I visited the International Garden Festival at Metis, Quebec. I've attended the Festival many times since it first opened in 2000, but in previous years I've gone with adults. This year was special -- I went with two teenage granddaughters.   [caption id="attachment_5512" align="aligncenter" width="1425"] The festival gardens are adjacent to the St. Lawrence River in a part of Quebec that offers much to explore.[/caption]   Playsages, the theme for this year's Festival, was a good fit for the three of us. The word is a mash-up of languages, blending

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The Upper Room Updated

August 7th, 2017 | 10 Comments »
An overview, looking towards the dogwood panels.
  Finishing The Upper Room, the area that honours my mother and her beliefs, was one of my goals for 2017.  I started work on the area last summer, hoping to finish then, but everything took longer than expected. This year, the sand-blasted panels that are the central feature were installed in the spring, the area was planted in early summer, and the final elements were added in July. The dogwood screen remains the crowning glory. It stands at the uppermost of three levels, defining the space without closing it in. I'm particularly happy with

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Clichés to Live By

July 3rd, 2017 | 15 Comments »
George Bush's statement was a promise not to raise taxes. Did he?
I'm thrilled to announce that an exhibition of neon art I've created will open on July 8 at The Winsor Gallery in Vancouver, British Columbia. The Winsor Gallery features cutting edge contemporary art, and I'm honoured to be exhibiting there, where artists of the calibre of Alexander Calder, Attila Richard Lukacs, Patrick Hughes, Angela Grossman and Fiona Ackerman have been shown. This exhibition gives me special pleasure: the invitation to exhibit came as the result of two garden visits. The first visit happened several years ago when I went to Broadwoodside, a garden near

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The Upper Room

April 26th, 2017 | 24 Comments »
The hardscaping for The Upper Room was completed last summer.
After months of anticipation, yesterday we installed the glass panels at The Upper Room. The wait was long but it was worth it -- I am thrilled with the results. The Upper Room is a memorial designed to honour my mother and her beliefs. It's a tribute to family and to the traditions I grew up with in Richmond, Virginia, when classically symmetrical architecture, brick, and boxwood shaped our streetscapes and our view of the world. From inception, brick and boxwood were essential elements of the design. So was a sense of embrace. I wanted the

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Garden Plans: I’m Dreaming Again

March 27th, 2017 | 27 Comments »
You can see a bit of the trail on the left side of this photo, taken in 2009. We cleared brush from this area last fall. Some of the wildflowers have disappeared but the site still feels the same. Is this an example of unity persisting despite change?
Now that winter has dumped several feet of snow on a garden that was almost snow-free, I'm back by the fire, metaphorically at least, dreaming of the seasons ahead.   [caption id="attachment_5009" align="aligncenter" width="600"] I took this photo about ten days ago after a fresh snowfall. Today is grey. And maybe more snow will fall. I hope not.[/caption]   I'm dreaming about a trail that will lead around the property. I'm considering the route it will follow and what I will call it. I know the purpose of the trail -- it will connect art

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