salvias chateau 1

A follow on post from this. And to set the scene: rivers of salvias – masses of Salvia ‘Amistad’ and S. uliginosa in late summer run riot through the planted areas around the park and the two areas of the festival site. Just wanted to acknowledge a  couple more of the temporary garden installations that worked well.  ‘À table’ – the theme of an edile table which recurs and never disappoints – to share a meal in the form of a garden party but, here, seated on benches with carnivorous plants suspended as lights over the long refectory table packed with old species of edibles,produced by pollination,  so unsuitable for large scale cultivation – black tomatoes, purple peppers, violet cauliflowers and climbing spinach . . .

a table

. . . the planting, edging the garden, reverts to the ever popular flowery mead style.

a table perimeter

la cuisine africaine 3

‘Cuisine Africaine’ showcased edible plants and seeds from the African bushveld required for the survival of human, insect and animal life.

Centre stage in this garden was a spectacular metal and wire wrapped sculpture  – a homage to the significance of the Boabab tree in this landscape – the canopy offering shade for villagers and travellers. A place  to meet, to rest and to eat under.  Leon Kluge built a good garden.

cuisine africaine

cuisine africaine 2

Farfugium japonicum, an evergreen ligularia, looking resplendent in containers in the hospitality area. An extremely French look –  but beware as this plant needs copious watering grown like this.

farfugium

In the Prés du Goauloup, a large flat area of landscaped park adjacent to the festival site, some of the garden installations from previous years have been relocated; many are Chinese . . .

carre et rond 2

. . . the red ribbon of ‘Carré et Rond’ or ‘land and sky’ integrates the contemporary concept of storm water management with the philosophical ideas of the link with man to water in traditional Chinese garden. Designed by Yu Konglian for the 2012 festival.

carre et rond 1

carre et rond 3

poplares 1

I find this poplar group very pleasing and, equally interesting, is a site specific installation by Chris Drury called ‘Carbon Pool’ –  a magnetic spiral of felled cedar lengths capturing some of the Goualoup Park secrets and appearing to drag them down into the earth.

New planting of Liquidambers make a seasonal frame.

chris drury 1

boardwalk

Selected existing mature trees are partnered with sculptural but also practical landscape elements . . .

sculptural bench

. . . leaving the festival but looking forard to the next event. views across the Loire river beyond the fiery Rhus – a willow and poplar landscape just losing the green and softening to yellow.

rhus + Loire

I have built a house in the middle of the Ocean

Its windows are the rivers flowing from my eyes

Octopi are crawling all over where the walls are

Hear their triple hearts beat and their beaks peck against 
the windowpanes

House of dampness

House of burning

Season’s fastness

Season singing

The airplanes are laying eggs

Watch out for the dropping of the anchor

Watch out for the shooting black ichor

It would be good if you were to come from the sky

The sky’s honeysuckle is climbing

The earthly octopi are throbbing

And so very many of us have become our own gravediggers

Pale octopi of the chalky waves O octopi with pale beaks

Around the house is this ocean that you know well

And is never still.  Guillaume Apollinaire  

Ocean of Earth to G.de Chrico.

 

 

 

 

 

sauvage 3

Prevarication – that’s the problem or is it an excuse? Or plain laziness? Anyway time to acknowledge a garden that was, but is now gone. A little explanation:  ‘The Savage Garden’ designed by 4 students from University of Greenwich landscape architecture/garden design course was selected to form part of the 2015 International Festival of Gardens at Chaumont on the Loire. The design was edited by Jamie Liversedge – senior tutor – with just a little help from me and built by students and Jamie + myself. Here he is talking about the garden . . .

chaumont opening-pana2 copy

. . . and the image above shows the site last April just before the opening of the festival – all other images show the garden in September just before the closure. The theme was ‘collections’ and the selection jury including Maestro Patrick Blanc defined the collection to be plant based. Le Jardin Sauvage  – tropical, a jungle, somewhere to get lost in, a refuge, where wildlife inhabit the overhead canopies, where Le Douanier Rousseau would have felt entirely at home – was a challenge not necessarily to build but to plant. The plants required time to envelop the site even though we selected some large specimens but over the time span of the festival, the growth of the planting was successful. The expectation was achieved. An angled route over crushed broken tile lead through lush foliage highlighted with brilliant flower colour across a bridge and under rusty steel arches – red was important in the colour palette from early on in the design stage. A few images . . .

sauvage 2

detail planting

detail mina lobata

. . . Mina lobata clambers over the steel reinforcing bar arch structure with a dark tender pennisetum covering the ground.

detail structure

detail canna

Cannas, hedychiums and begonias eventually came to the party. It looked good and the festival staff and visitors appreciated the concept and the finished result.

detail dicksonia

Another garden that caught my eye (really the best in the festival, for me) Le Jardin du Teinturier – a dyer’s esate probably in Marrakech – where the utilities of plants and the pigments extruded from berries, stems and roots were shown in a cinematically installation. It was perfection – well ordered, inspiring and beautifully designed . . .

le jardin du tein 1

le jardin du tein 2

le jardin du tein 3

. . . striking berries of Arbutus.

le jardin du tein arbutus

The gardens were eclectic in character under the umbrella of a given concept – always thought provoking and surprising.  ‘Réflexion d’un Collectionneur’ – a garden based on nature in a garden around a museum or gallery where the visitor views without knowing what lies beyond. Enticing – paintings or mirrored panels show the world behind the viewer. Is it a secret garden or a museum collection? Whatever, it was very clever.

reflexion 4

reflexion 3

reflexion 5

carnivore

Carnivorous plants were centre stage in a few gardens and this perforated screen shown below in Le Collectionneur de L’ombre was pleasing – a collection of ferns needed shade. The poem, well, a jungly romp with Spike Milligan that conveys the fun aspect of Le Jardin Sauvage. To follow a few more images and words on other parts of the festival.

collection de l'ombre 1

On the Ning Nang Nong

Where the Cows go Bong!

and the monkeys all say BOO!

There’s a Nong Nang Ning

Where the trees go Ping!

And the tea pots jibber jabber joo.

On the Nong Ning Nang

All the mice go Clang

And you just can’t catch ’em when they do!

So its Ning Nang Nong

Cows go Bong!

Nong Nang Ning

Trees go ping

Nong Ning Nang

The mice go Clang

What a noisy place to belong

is the Ning Nang Ning Nang Nong!!    Spike Milligan 

 

 

 

above the Gardon

March 12, 2016

A jaunt out above the gorges to see if the new seedling growth of the ferula is showing and, yes, frothy and fresh in tone, carpeting the ground around the forebears which are still strong but wonderfully light to hold as the stems are hollow now . . .

ferula old

ferula + euphorb

. . . young ferula growth here mixed in with low, lime green euphorbia, but the taller Euphorbia wulfenii also claims attention. A black-eyed form and perhaps crossed with others to form  E. x martini . . .

euphorbia 1

iris pumila purple

. . . Iris pumila – in papal cloth and in soft yellow – stop me in my tracks, not only to admire visually but, also to avoid squashing them where they sprout through the stony path.

iris pumila cream

iris pumila in stones

By le Castellas and at Table de Lecture de Paysage, the view forces the eyes to lift up away from studying up from studying the minutiae on the ground to this tableau  – the river Gard flowing in a cup shaped curve; a quite splendid panorama . . .

gardons to east

. . .  as it enters from the west  beyond Russan and beyond Anduze . . .

gardons to east detail

 

gardons to west

. . . and as it moves to the east flow under Pont Saint – Nicolas and then under Pont du Gard before entering the Rhone. Some folks do other physical and challenging pursuits here but I just gaze.

climbers

narcissus + globularia

How the tiny narcissus occupy this terrain and how enjoyable they are . . . so it’s eyes down again and especially when the path becomes a solid sponge like form of limestone. Perhaps it’s more like walking on a giant food grater.

narcissus in path

limestone path

Then again the view demands attention. Pont Saint-Nicolas and surroundings can only be enjoyed from this high aspect – there is nowhere to park nearby – hurrah.

pont st nicolas

church

Back in Vic, Commune de Ste Anastasie, grave stones neatly placed on the church wall face a flowering Rosa banksiae – my first this year on March 4th- and a wall hosting Umbilicus rapestris – great texture contrasts.

The poem reads like an old song or fairy tale to me – but no claim is made on this landscape but just simple grateful appreciation.

rosa banksiae

umbilicus rupestris 1

walking by the waters

down where an honest river

shakes hands with the sea,

a woman passed round me

in a slow, watchful circle,

as if I were a superstition;

 

or the worst dregs of her imagination,

so when she finally spoke

her words spliced into bars

of an old wheel. A segment of air.

Where do you come from?

‘Here,’ I said, ‘Here. These parts.’ Jackie Kay In My Country

 

 

 

on the beach – January

January 14, 2016

1

After seemingly interminable rain, hallelujah a bright day dawns – of course chilly and crisp and more than refreshing; but appetising nonetheless. The beach at Pett Level is hidden from the road by the sea wall so the view across the Military Canal to the rising land has no competition. Visually superb from a distance and also excellent at close quarters for those strolling through.

Over the sea wall, a different and equally pleasing landscape is laid out. The tide is coming in as the sun strikes short shadows and highlights the textures of the beach stones . . .

2

3

. . . sandstones of varying size contrast with finer shingle and the smooth islands of dark peat. An ancient forest lies below the water and can be seen occasionally below Cliff End revealing timber with a soft spongy texture as against the also exposed rigidly hard wood used in the old sea defences  The rhythm of the tide has left an elegant and informal wandering edge as though Poseidon has run a finger along the coastline . . .

3.5

4

5

Small waders leave their mark – turnstones and oyster catchers perhaps – searching for delicacies and holding their own among the herring gulls.

6

7

Nothing has been ‘done’ to these pix . . . clouds arrive and the sky to the east wears a dark violet cloak now . . .

8

9

. . . but remains clearer to the west with a freezing wind which meant power walking back to the sheltered lower level and a favourite view across the marsh inhabited by coots and curlews and the odd cormorant – and the sheep of course. Edward Thomas, my father’s favourite poet assisting here on a special day. January 14th 1910

to winchelsea

Out of us all

That make rhymes

Will you choose

Sometimes –

As the winds use

A crack in a wall

Or a drain,

Their joy or their pain

To whistle through –

Choose me,

You English words?

 

I know you:

You are light as dreams,

Tough as oak,

Precious as gold,

As poppies and corn,

Or an old cloak:

Sweet as our birds

To the ear,

As the burnet rose

In the heat

Of Midsummer:

Strange as the races

Of dead and unborn:

Strange and sweet

Equally,

And familiar,

To the eye,

As the dearest faces

That a man knows,

And as lost homes are:

But though older far

Than oldest yew, –

As our hills are, old, –

Worn new

Again and again:

Young as our streams

After rain:

And as dear

As the earth which you prove

That we love.

 

Make me content

With some sweetness

From Wales

Whose nightingales

Have no wings, –

From Wiltshire and Kent

And Herefordshire, –

And the villages there, –

From the names, and the things

No less.

Let me sometimes dance

With you,

Or climb

Or stand perchance

In ecstasy,

Fixed and free

In a rhyme,

As poets do.  Edward Thomas  Words

Saturday morning

December 21, 2015

cafe

Been quite lazy on the blog front but then it’s good to take time out and breath. These two sitting outside Patisseries Orientales in Boulevards des Allies looked relaxed about life too. Saturday morning in Uzès means MARKET and although having been here a few weeks now, it is my first visit. My trustworthy confidante advised that a trip to Friday’s market in San Quentin is more authentic and cheaper – she’s right as always – but under murky skies, the market stalls along the Boulevard and in Place aux Herbes glistened like jewels and it was sort of fun . . .

fleurs

mimosa

. . . fleurs turned into chou-fleur and magnificent frisées.

choux fleurs

Wandering back down Rue Grande Bourgade where solanum continues to flower, I was grateful to this gentleman as he completed the composition – if only there was some sun and therefore some shadows.

rue petite bourgade 2

rue petite bourgade

A vine over an entrance at 32 is most sculptural and well managed – reminds me of a Pekingese fringe. And yes, the tantalising mimosa came home. Just checked and 4 years ago I was here with important beings.

no 32

no 32 close up

mimosa copy

Le soleil est toujours riant,

Depuis qu’il part de l’orient

Pour venir éclairer le monde.

Jusqu’à ce que son char soit descendu dans l’onde

La vapeur des brouillards ne voile point les cieux ;

Tous les matins un vent officieux

En écarte toutes les nues :

Ainsi nos jours ne sont jamais couverts ;

Et, dans le plus fort des hivers,

Nos campagnes sont revêtues

De fleurs et d’arbres toujours verts.

 

Les ruisseaux respectent leurs rives,

Et leurs naïades fugitives

Sans sortir de leur lit natal,

Errent paisiblement et ne sont point captives

Sous une prison de cristal.

Tous nos oiseaux chantent à l’ordinaire,

Leurs gosiers n’étant point glacés ;

Et n’étant pas forcés

De se cacher ou de se taire,

Ils font l’amour en liberté.

L’hiver comme l’été.

 

Enfin, lorsque la nuit a déployé ses voiles,

La lune, au visage changeant,

Paraît sur un trône d’argent,

Et tient cercle avec les étoiles,

Le ciel est toujours clair tant que dure son cours,

Et nous avons des nuits plus belles que vos jours.  Racine

 

The Sun is always laughing,

since he moved from the East

to come light up the world.

Up to what his chariot is down in the wave

of mist steam sailing point heaven;

Every morning an unofficial wind makes all naked:

so our days are never covered.

And in the height of winter,

our campaigns are coated with

flowers and evergreen trees.

Streams meet their shores,

and their fugitive naiades

without leaving their natal bed,

wander peacefully and are point

captive in a prison of Crystal.

All our birds are singing in the ordinary,

their throats being point iced;

And not being forced to hide or shut,

they make love in freedom.

The winter and the summer.

 

Finally, when night has deployed its sails,

the Moon, in the changing face,

appears on a silver throne,

and holds circle with the stars,

the sky is always clear as long as takes its course,

and we have most beautiful nights that your days.

arrangements ou compositions

September 19, 2015

trolley

Say it in English or in French – this post is about the placement of items in an attractive manner – some to tantalise, attract in the hope of a purchase or  just please in the aesthetic sense – whoever arranged these knows instinctively that the viewer will appreciate the effort. But maybe some compositions have been arrived at haphazardly . . .

bar

. . . it’s a quiet morning in Les Halles in Avignon so an opportunity to take in and admire the arrangements and compositions inside and also outside . . . ..

bowls

garlic

onions

baskets

 

bread

bread 2

sausages

olives 2

olives

salads

spices 2

spices

. . . as it’s Tuesday the unoccupied fish tank becomes an installation in its own right and rarely seen.

fish tank

Outside in Place Pie, this figure was for investigation . . .

mannequin rear

. . .  even more eccentric from the front.

mannequin front

heads

silks

Ah, all so eclectic.

doll

My mind is like a clamorous market-place.
   All day in wind, rain, sun, its babel wells;
   Voice answering to voice in tumult swells.
Chaffering and laughing, pushing for a place,
My thoughts haste on, gay, strange, poor, simple, base;
   This one buys dust, and that a bauble sells:
   But none to any scrutiny hints or tells
The haunting secrets hidden in each sad face.
The clamour quietens when the dark draws near;
   Strange looms the earth in twilight of the West,
Lonely with one sweet star serene and clear,
   Dwelling, when all this place is hushed to rest,
   On vacant stall, gold, refuse, worst and best,
Abandoned utterly in haste and fear.  Walter de la Mare.

 

 

Raxa Collective

Also known as candlefish, eulachon (Thaleichthys pacificus) are so oily that they can ignite when dried. Traditionally, eulachon were used at times as lights by Nisga'a people.  PHOTO:  PAUL COLANGELO Also known as candlefish, eulachon (Thaleichthys pacificus) are so oily that they can ignite when dried. Traditionally, eulachon were used at times as lights by Nisga’a people. PHOTO: PAUL COLANGELO

A Nisga'a woman hangs eulachon on a ganee'e, or air-drying rack. PHOTO: PAUL COLANGELO A Nisga’a woman hangs eulachon on a ganee’e, or air-drying rack. PHOTO: PAUL COLANGELO

Often referred to as “salvation fish” for safeguarding native people from starvation, the eulachon is now in need of a lifeline itself—as its habitat and population are in danger. National Geographic reports on the fish’s historical and cultural significance and the the many changes in the ocean that have led to the decline of the eulachon’s numbers:

The fish are also known as halimotkw, often translated as “savior fish” or “salvation fish.” Eulachon return to the rivers here to spawn at the end of the North Pacific winter, when historically food supplies would be running low. In lean years the eulachon’s arrival meant the difference between life…

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