Art and Sculpture in the Garden

I only caught a glimpse of the couple as I entered the garden. I followed the path around the lawn, past the pergola that gave shade to the bench below. The pair were in a corner, almost hidden in foliage. As I approached, I felt I was intruding on an intense conversation between lovers that had fallen silent at that very moment. Had they declared their love? Had they quarrelled? What had she asked of him? Had he answered? I tried to interpret their expressions, to imagine their thoughts. I wanted to hear them speak, however, the silence continued. But then why would five feet of inanimate concrete have words for me?

They’d been lovingly placed there when the garden was young; so many years ago that bright yellow lichen now adorned his jacket. The quiet presence of this piece of statuary enhanced the garden, perhaps evoking pleasant memories in the one who tended it throughout the seasons. For me, a casual visitor to this garden near Portsmouth, England on a sunny day in 2005, it caused me to pause and to ponder, just one of the reasons artwork is created.

 It was a little disconcerting to see the face peering from the foliage at the foot of the garden, the late afternoon sun casting shadows, further obscuring the figure. It wasn’t that I was startled; I’d been forewarned on entering the garden to look out for Leila. She’d be waiting beyond the rose garden, near the stand of Japanese Silver Grass. I said hello Leila, not expecting a response. I mean, why would five feet of inanimate concrete graced by a soft patina of pale green lichen have words for me.

But then she didn’t need to speak. Her silent presence enhanced the peacefulness of the garden; she was a part of the garden, part of the family, at home where she stood. She’d been placed there some years previously, when the garden was young. At the time she stood alone in a corner of a lawn. As the garden grew, evolved, shrubs and trees took their place, and Leila, no longer standing alone in a bare expanse of manicured green became one with nature, as I discovered her.

Artworks in the form of statuary and sculptures have long been used to elevate the sometimes prosaic nature of gardens since the earliest times. The ancient Greeks and the Romans had their peristyle courts; enclosed gardens where classical sculptures would be displayed, typically reflecting philosophical or religious motifs and set on pedestals to be gazed at in awe.

It was during the Italian Renaissance in the fourteenth century when gardens became larger, symmetrical, and besides the grottos and fountains, there was always classical statuary. The Italianate style found its way to Britain, particularly during the nineteenth century when travelers returning from a
Grand Tour of Europe developed their own Renaissance gardens and filled them with statuary.

Travel the great gardens of Britain today, those built long ago by the aristocracy or early industrialists, and it’s soon apparent statuary was big business in the eighteenth and nineteenth centuries. Materials were still the traditional marble, stone, or bronze, but in far greater numbers — every garden owner of note wanted to enhance their estate.

The need was filled by using composite materials, though often of inferior quality — a crumbling David would be unlikely to inspire or impress anyone. This was resolved around 1770, when enterprising Eleanor Coade invented Coade stone, an artificial material used for moulding neoclassical statues and garden ornaments. Of such high quality and virtually impervious to the eroding effect of weather, it outperformed natural stone. By the 1840s artificial stone produced using Portland cement came on the market and the more expensive Coade stone was largely phased out.

Lost over time, the original secret recipe, a form of ceramic using crushed flint, fine quartz, and crushed glass was rediscovered and further refined by sculptor and stone carver Stephen Pettifer. In 2000 he founded the Coade Company in London, England, which continues to produce all forms of statuary.

In those great gardens, even now, two centuries later, what may appear to be an original piece carved from stone could well be Coade stone.

By the start of the twentieth century the popularity of classical sculpture waned somewhat with the advent of modern sculpture, beginning with the work of Auguste Rodin, who exhibited at the Universal Exhibition held in Paris in 1900. Since then, every form of abstract artistic expression has made an appearance, in galleries and as public installations, in gardens as originals or more often replicas, and produced now in every possible medium.

Just as the Greeks and Romans created places to display their sculptures, today, parks are created specifically to display sculptural works, or they are exhibited in existing gardens. Somehow, the placing of sculptures in a natural setting enhances the moment, and is a way of introducing such works to the public. Cambridge has its delightful Sculpture Garden located on Grand avenue South alongside the Grand River. At the Homer Watson Gallery in Kitchener, there are whimsical works by local artist, Glen Smith on display in the small garden there.

The Seattle based revolutionary blown glass artist Dale Chilhuly exhibits his work in gardens around the world with multicolored pieces that can be mistaken for plants and trees of the natural world. At Kew Gardens in London, his work was once exhibited both in the gardens and inside the majestic palm house because, as he said, he always wanted to show his glasswork in a glasshouse. His pieces have also appeared at the Desert Botanical Garden in Phoenix, Arizona. While visiting, I could easily have mistaken his spiky, chartreus cactus for a rare saguaro if it hadn’t been sparkling so in the bright desert light.

I’d much rather wander a park or garden than a gallery or museum, and it was first in those large stately gardens of Britain where classical statuary abounds that I first discovered my love of sculpture. Renishaw Hall in the north of England is typical of the nineteenth century style with its stunning Italianate gardens. Statuary there graces the pathways, at flights of steps, between garden rooms and within them, where they stand in the shade of topiary hedges five meters high. Sometimes the topiary works are sculptures in their own right.

Likewise in the south of England at Hever Castle, the childhood home of Anne Boleyn, the American millionaire and philanthropist William Waldorf Astor, beginning in 1906 added a magnificent Italian garden and filled it with his own collection of statuary retrieved during his European travels.

More a park than a garden, the Yorkshire Sculpture Park was developed specifically for the display of sculpture, including a number of Henry Moore pieces. Not sure how Henry would feel about sheep wandering around his work, although it honours his commitment to having his work placed in the open air.

It was in a more formal part of the park that I discovered the 'Moon’, a piece I’d perhaps unfairly describe asa large scale version of a Victorian gazing ball.  Hand-blown glass garden accents were first recorded as being produced in Venice 13th century. In the 16th century the English philosopher Francis Bacon commented that a proper garden would have round coloured balls for the sun to play upon, and by the Victorian era they became a popular garden feature, and are still. They are intriguing, the way they reflect and shimmer as the light changes, but I’m happy to gaze at them in someone else’s garden.

The ‘Moon’, however, by Swiss artist Not Vital (a confusing name in English) is something I’d covet if my garden were large enough to house it. ‘Moon’ is a highly polished sphere in stainless steel replete with tidy, random dimples representing, I suppose, the more ragged craters of the moon.

Three meters in diameter, it sits in an expanse of grass, and like the real moon’s gravitational field, it draws viewers to touch, to marvel, to observe the distorted reflections of the tree filled park. It now has its own Saturn like ring, formed by the circling footsteps of a captivated audience.

One of the finest, though fleeting, exhibitions of garden art is to be found at the Chelsea Flower Show held annually in London, England. It’s here where designers compete for gold medals in garden design. The gardens are imaginative wonders, works of art in their own right, and typical contain sculptural pieces to complement and enhance the experience.

At the 2016 show, a garden by Russian designer Tatyana Goltsova explored the complex relationships between Russia, Ukraine and the UK, though not in the current political sense. A work by Ukrainian sculptor Victoria Chichinadze that embodied the spirit of the traditional lace makers of Eastern Europe was allowed to beautifully dominate the garden. Crafted from 600kg of aluminum, the white, lace-like form, in sharp contrast with the surrounding green, swirled through the garden to skim the surface of a water feature called River of Time, culminating at a transcendent female figure.

Also at the 2016 show, a gold medal winning garden by Chris Beardshaw prominently featured a haunting, contemplative face. Named The Fallen Deodar, it was one of a limited edition of six in verdigris bronze. At 1.5 meters across, the original was carved from, and inspired by, a massive Deodar tree (Cedrus deodara) that had fallen on bleak Dartmoor, not far from the home in Devon of artist Jilly Sutton. The original work now resides in a garden somewhere in Tokyo, fittingly owned by one of the tree leaping Japanese actresses who appeared in the movie Crouching Tiger Hidden Dragon.

Given the long historic association of art and gardens, it would almost seem that a garden is not complete without a sculpture or piece of artwork. Ensuring each complements the other is the challenge. Those who design both sculptures and gardens understand the importance of scale, texture, and appropriate placement, and it’s no less important in a home garden.

I’ve always believed a garden is a personal space, accepting of anything the owner chooses to place
there. Garden gnomes, super heroes, well-dressed mannequins and even the many nefarious Lord of the Rings characters have all found a place in gardens. A monstrous orc, however, would be more suited to a huge gothic garden rather than lurching out of a flowerbed, unless, of course, it happens to frighten rabbits.

Besides these outliers an endless supply of decorative, often beautiful accoutrements awaits the browser at every garden show and gift store where there’s something to suit anyone’s taste. Smaller items are useful for punctuating an entrance or creating particular interest within a planting, but too many are . . . well, too many.

Plonk something in the middle of the front yard, though, and it’s on public display. That group of fake deer on a country property viewed through a morning mist can for a moment be delightful — or induce a moment of panic, but in the harsh light of midday . . . well, they’re still plastic deer. And massive concrete lions rampant at the foot of a suburban driveway somehow don’t capture the essence of the veldt — they’d be far more effective lurking in the shrubbery.

Many an expanse of green lawn does indeed cry out for a focal point, yet it is so worthwhile to reflect on those masters of design when choosing a sculpture and the way they considered theme, scale, location — and the garden. The appropriately placed classical statue awaiting discovery at a random turn in the garden will gently delight the unwary visitor.

A graceful Aphrodite, framed naturally in an arch of trees can be perfect. Position her at distance point to become a silhouette at sunset or sunrise and the effect is magical. When a piece such as this has attained an ancient, mossy patina, and is revealed only when a breeze stirs foliage, it becomes an enchanting dreamscape, and sometimes startling part of the garden.

Getting closer but not there yet

Imagine, lying in bed nice and cozy then suddenly the duvet is whipped off. That’s bad enough, but then the window is thrown wide open and an icy blast flash freezes your tender bits. If this is repeated enough times, those bits will fall off. This is exactly what happens to plants in the garden when the snow melts quickly, as it has this week.

Snow is an insulator, the deeper the better. It keeps plants in a comfortable state of dormancy. Even in winter, soil is giving off heat. Deep down, soil temperature is around 10 degrees or so, summer and winter. Where there’s a deep layer of snow acting as insulation, the surface temperature of the soil may be barely frozen. A study from the University of Delaware showed that for each centimetre of snow cover, the soil temperature will increase by roughly half a degree Celsius. 

Being suddenly exposed to icy blasts won’t bother tough plants, especially native ones, but any tender ones will suffer. And if the icy blasts don’t get them, the soggy soil will. The ground below may remain frozen, but nearer the surface it will be waterlogged. This happens in spring, but the ground soon thaws and normal drainage is resumed. When it happens in the middle of winter, that soggy ground refreezes. Repeat a few times and the expensive, borderline hardy perennial that you planted with care last spring will quietly succumb and no amount of coaxing will revive it. The same conditions can easily cause plants that aren’t well rooted to be heaved out of the ground, dead or alive.

I haven’t reached the point where I’m pushing wheelbarrows full of snow to the backyard to cover tender plants, but I have on occasion tossed a few extra shovelfuls over one or two. I usually mulch around the special ones in fall to help them resist the effect of winter thaws.

There are places in my backyard where the snow drifts deeper, and consequently, plants below are less prone to being prematurely exposed. The same occurs in sheltered areas, usually in shade and out of the wind. It’s worthwhile to note these places as they are in effect, micro-climates. A tender plant may require other specific considerations — soil type, sun or shade etc. — but it might just stand a better chance by being planted where it won’t be subjected to harsh conditions too early in the spring.

It’s also worth noting where the opposite occurs — areas in the garden where wind consistently whips snow away to expose the soil. This happens around the base of shrubs, posts, and against a fence, or building.

The snow is often scoured away along sides of buildings, depending on the prevailing wind, although the soil may be warmed by heat loss from the house, counteracting the effect of the wind. In fact, tender plants often survive well here. For instance, spring bulbs planted close to a sheltered, south facing wall will flower days or even weeks earlier than those in the middle of a garden.  Against a fence there’s no extra heat in the soil and though the fence may cause snow to drift deeply as you may see on a leeward flowerbed, the space closest to the fence is left exposed.

It may not be immediately obvious that a change in the weather is impacting the way a garden will look in summer, but it certainly does. Ahh, summer. Brrr — hang on to that the duvet. Winter isn’t over yet.

Poinsettias sure get around

It wouldn’t be Christmas without them, but I have a hard time deciding if they’re a plant or a Christmas decoration. It’s such a firmly entrenched tradition that I dare say most are purchased with the latter in mind. They’re available in colours and patterns to match any decor. That’s the poinsettia, of course, and the number produced is mind boggling. By Christmas, it’s unlikely anyone indoors in North America is more than a few steps from one.

It all began with a German immigrant to the U.S. in 1900. Although introduced to the country in 1828 by botanist and Ambassador to Mexico, Joel Roberts Poinsett, noted as the 'official discoverer’, it’s thanks to that German farmer, Albert Ecke and his descendants that you’re likely looking at one now.

Intrigued by the poinsettia, Albert began selling the plants at street stands in Los Angeles. His son Paul improved the plants giving them a bushier, more comely appearance, rather than the original weedy plant. It was then grandson Paul Ecke Junior’s turn to advance the association with Christmas.

He did this by sending free plants to television stations where they were displayed on air in the weeks from Thanksgiving to Christmas. He even appeared as a guest on the Tonight Show and on Bob Hope's Christmas specials to promote the plants. By the 1990s, the Ecke family held a virtual monopoly on production.

That changed when university researcher John Dole discovered the secret of how the family developed their unique poinsettias. After Dole published it, competitors began producing plants using low-cost labour in Latin America. The Ecke family business no longer grows poinsettias in the US, but still has a huge market share worldwide.

I don’t remember when I saw my first poinsettia, but it was here in Canada. As a Christmas plant they took off first in North America, but the rest of the world is catching up. Holly and mistletoe have been popular in Europe for centuries. Now, those traditional Christmas plants have been overtaken by the poinsettia. South Africa and Australia are catching up. In Australia, they’re also forced into bloom for Christmas. Given the climate there, they can be happily grown in the garden as well. Wouldn’t that be nice?

As a winter flower, it’s becoming popular in China, Japan, and South Korea where Christmas, at least the commercial aspect, has found a place. Despite different cultural traditions, it comes as a surprise to many travelers to cities in East Asian countries to discover Christmas trees on display in shopping malls, so it’s no wonder the poinsettia is appearing there as well.

In Turkey, much closer to the origin of Christmas, but with no connection, the poinsettia was being cultivated long before Europe was aware of it. It was simply an attractive winter plant that became popular because it was a favourite of Mustafa Kemal Atatürk, first president of modern-day Turkey. Hence the poinsettia became known there as Atatürk's Flower, probably the only flower named after a politician, other than Joel Roberts Poinsett.

It can now be found growing wild in Turkey, where the climate, similar in places to Mexico, suits it. In fact, due to its proliferation as a houseplant around the world, where the climate does agree with it, there’s every chance poinsettia could become an invasive plant in the wild. Imagine a world in which there’s one in sight wherever you look — maybe not.

I confess I’m a reluctant admirer of the poinsettia, however, I was amazed the first time I ever saw one growing naturally outdoors. It was over two metres high, clambering up the side of a funeral parlour in Lahaina, Hawaii, and I thought it looked wonderful. Then again, it was January and the soft ocean breezes and ukulele music might have had some effect on my opinion.

Amaryllis -- or is it?

Here’s a little trivia to share, however, it might only elicit a few murmurs of huh, okay, or how about that — if you’re lucky. The only occasion when it might be worth repeating is when a conversation has stalled and is almost beyond recovery. It might help if there’s an amaryllis handy, preferably in bloom, or at least sprouting leaves.

It’s then you could pipe up and say, "Although we might call them amaryllis, the correct name is Hippeastrum, a genus of plants from South America.” Right, you needn’t have bothered because few give a hoot about the botanical nomenclature of plants. Botanists do, although they don’t always agree. They long debated whether the ones we know and love belong in the genus Hippeastrum, a group of plants native to South America, or should they be classed as Amaryllis belladonna, a plant from southern Africa?

The argument went on until 1987 when the 14th International Botanical Congress decided our seasonal houseplant was indeed from the genus Hippeastrum. Fortunately, they agreed amaryllis would be a “conserved name”, meaning it was okay to continue calling it what we always have done.

Regardless, these plants that brighten our homes as days shorten are all the result of hybridisation of Hippeastrum species from Central and South America. They’re selected and bred for flower size and ease of forcing in a gorgeous range of colours that continues to expand.

As for Amaryllis belladonna, the one that caused all the confusion, it’s a plant that you’d more likely see growing outdoors. In more temperate regions around the world, it’s become naturalized. One of the common names for it is naked ladies, so named, not after the band, but because the flowers bloom before the leaves appear, like the fall crocus. It could be grown in our gardens as a summer flowering bulb, that is if you can find it.

I’m afraid my suggestion of a garden plant that you can’t easily buy is about as useful as the bit of trivia, so back to our good old amaryllis. You might be unloading one with the groceries right now as they’re currently being sold everywhere. If you also bought a monster garlic or some kind of exotic root vegetable, make sure it’s the amaryllis that goes in a flowerpot, not the soup pot because it is somewhat toxic to humans, but only if you eat a lot. Dogs and cats, however, can become quite ill if they were to chew on a bulb or eat the leaves.

Now that I’ve sorted out the plant that no one was confused about until I brought it up, here’s how to care for it. Some come ready planted with complete instructions, but if you’re starting out with a bare (don’t mention naked) bulb, choose a pot that is slightly larger than the bulb, preferably a heavier one to avoid tipping.

Don't bury the bulb completely in the pot, just two thirds to three quarters deep leaving the shoulders exposed. A specific potting soil isn’t necessary. Place in a warm, sunny location and water sparingly at first as too much can cause rotting. Gradually water more as the leaves and flower bud appear and fertilize every couple of weeks. To prolong blooming, move it to a still bright but slightly cooler location.

Pinch off the blooms as they fade but keep the leaves growing for as long as possible to replenish the bulb. To get it to flower again next winter, sink the pot in the ground outdoors in spring. Cut off the foliage after it dies back, then leave it be until September.

Repot in fresh soil, bring it indoors, repeat the process as above and you can look forward to it blooming a second time — how about that, huh?