At the end of yet another long, cold, very wet winter we had a promising start to spring. I transplanted some daffodil bulbs last year to the border in front of the studio, they added some early colour along with the camelias.
Sadly, apart from a few sporadic sunny days, the weather of the past two months has been nothing short of atrocious. Amazingly, there are many stoic soldiers that have battled on through the gloomy days, torrential rain and high winds. Nothing seems to deter the annual display of daffodils and a lone jonquil,
and a kaleidoscope of crocuses continue to pop up in unexpected places.
Florentina iris and Spanish bluebells braved the elements
and a surprise appearance from Lachenalia emerged from a young hydrangea shrub.
We have a few clumps of Clivea around the garden but they are often chomped by our nocturnal visitors.
The Magnolia tree is still recovering from years in the shade and will be helped by the impending removal of a few huge gum trees.
The rhododendron blooms in the same section of garden are stunning this year and have the most delicious scent, no wonder the bumble bees are happy.
New tree fern fronds are eagerly unfurling in anticipation of warmer days.
Another spectacular show from the Waratah, although the flowers are now struggling with the prolonged inclement conditions.
Our blueberry yield was very poor last year so we protected them from gale force winds while the fruit set. It is looking promising for this year’s bounty, now we need to protect them from birds and marauding fauna.
Geraldton Wax and grevilleas are providing the bees with much needed nourishment.
I am hopeful that the solitary oriental poppy will become many next year.
A few years ago, I posted ‘random rambling’, a selection of photos that didn’t really fit any one subject. I have since accumulated a few more that I thought I would share with you. The male blue wrens have been in their eclipse phase through winter and are now bobbing around the garden in their bright blue plumage in pursuit of the ladies.
In the forest, flowers of wild white clematis transform in autumn to feathery seed floss.
Here is a bit of silliness. Spreading a few tons of mulch, Michael captured this from his perch on the tractor. He calls it, “burying the wife”.
After dark, our garden becomes a marsupial playground and sometimes the critters are slow to leave come morning. This pademelon didn’t seem in any particular hurry to return to the forest.
The elegant art installation by a local orb spinner decorated the verandah. Backlit by the morning sun, it was fortunately too high to trap the unsuspecting human.
Sitting at the dining table one afternoon, I saw a flash of white in my peripheral vision. I assumed it was a sulphur-crested cockatoo but on closer inspection, a beautiful Grey Goshawk had landed in a tree just outside the window. The threatened species has a population currently estimated at less than 110 breeding pairs in Tasmania, we are hopeful our forest is home to at least one of those pairs.
I spotted this humongous fungus in the crevice of a tree trunk in the garden,
ten days later, it had started to shrivel and change shape.
Our magnificent Golden Ash tree provides shelter through summer before the leaves turn gold in autumn and fall to the ground.
On this particular day, I looked up from my usual gardening position on my knees and was awed by the comfort of the canopy. I felt as though the tree was embracing me
or maybe it was my handsome North Wind man?
Looking out of the window one day, I could see black objects on the horizon (my eyesight isn’t what it used to be). I took a photo for identification purposes and confirmed nothing more exciting than the neighbouring cattle searching for tasty remnants in a barren field.
I discovered this delicate, white fungus while picking the last of our daffodils, it reminds me of coral. Apparently, it is called Shizophyllum commune and is very common on dead wood.
Our holly tree, once starved of light under a huge gum tree we have since removed, has flourished. I think this is proof that Christmas should be in winter.
Both the red and yellow waratahs are presenting a stunning display this year
Darwin has long been an important strategic outpost from a military perspective. In the early 20th century, the need to attract senior public servants to the town led to the construction of four significant houses between 1936 and 1939, now known as the Myilly Point Heritage Precinct. Architect Beni Burnett was recruited from Malaysia, where he grew up with Scottish missionary parents, and was appointed the task of producing housing appropriate to the climate. The influence of his early years is shown in the tropical elements of the architecture of the three houses he designed. One was destroyed by Cyclone Tracy in 1974, another was damaged and remained vacant and boarded up to prevent access from itinerants until it was restored in 1988. A year later, it became the headquarters of the National Trust and known as Burnett House.
The only two-story house on the precinct and the only surviving example of B.C.G. Burnett’s Type ‘K’ design, Burnett House survived the bombing of Darwin during World War II with two bullet holes in the front fence. The Australian Women’s Army services were based here during the war and it was also as a rest area for nurses. Nowadays, the National Trust hosts afternoon teas once a month in the beautiful gardens, a lovely setting to while away a couple of hours on a balmy Sunday.
We were invited to wander through the house before leaving, an offer too good to refuse. What would have been the original living areas downstairs are now occupied by National Trust administration spaces, we made our way upstairs where the bathroom greeted us at the top. The upper floor bedrooms are spacious with three-quarter height partitions between rooms, information panels and photographs tell the history of the house.
Presented as living areas, I could quite imagine enjoying a gin & tonic under the whirring ceiling fan with the scent of a tropical garden wafting through the louvres.
The bedroom exuded a peaceful ambience and has a spacious dressing area.
Outside, colourful tropical flowers abound in the immaculate garden.
Adjacent to Burnett House, Audit House was designed by the Commonwealth Government and is an example of a large-scale housing form used in Darwin during 1920-1940.
Built for the Commonwealth Auditor in 1938, this house was also used during the war as part of a rest home for nurses. After the war, the Auditor no longer used the residence and there was a succession of occupants from various Government Departments. Unfortunately, we weren’t able to see inside but it looked very inviting, surrounded by a well-established tropical garden.
There are fifty four artists represented at Il Giardino di Daniel Spoerri,a sculpture wonderland set in the Tuscan countryside. I thought we had done a credible job of covering the ground but, on reflection, we only discovered half of them. It doesn’t matter, what we did see was astounding. Eva Aeppli was born in 1925 in Switzerland and, after her studies, moved to Paris. Around 1967, she started concentrating on textile life-size figures, creating sewn heads that refer to the planets. If you look closely, the stitch lines can be seen on the bronze casts of the Astrological Signs group.
The gold faces of The Planets represent the positive aspects of the Moon (in silver), Mercury, Venus, Sun, Mars, Jupiter, Saturn, Pluto, Neptune and Uranus
while the negative aspects, responsible for the sinful facets of human beings, are expressed in A Few Human Weaknesses. From left to right, these are Sloth (Moon), Envy (Mercury), Lust (Venus), Pride (Sun), Wrath (Mars), Gluttony (Jupiter), I seem to have missed Avarice (Saturn). Again, the heads were originally sewn and the texture of the silk fabric can be seen on close inspection.
An attempt to glue the figures rather than sew them wasn’t very successful. Two of the failed pieces were used as scarecrows in Eva’s vegetable garden while others were used for airgun target practice. One of the heads, collapsed and shrivelled, has been cast in bronze and embedded between two branches of an olive tree. Although it seems to be watching the passersby, the empty eye sockets see a world on The Other Side.
The three Greek goddesses of vengeance and retribution, known as the Erinyes or Furies, represent the negative aspects of the so-called invisible planets Neptune, Pluto and Uranus.
Ars Moriendi (Latin for ‘The Art of Dying’) by Italian artist, Giampaolo di Cocco, comprises three sculptures that represent life-size elephant bodies in various stages of decomposition.
Katharina Duwen’s Refuse from the Bronze Age relates to the subject matters that interest her most: traces of the past and relics of civilisation. Various items lie together as if on an illegal dump site, made of bronze they contradict the notion of putrefaction and decay. In the future, this evidence may provide useful information to archaeologists about the everyday lives of a past culture.
Not only is Angelo Maineri a maestro of sculpture, he has been responsible for the care and maintenance of the Giardino since 2016. He has melded bodies of steel and cement, seemingly weightless yet grounded, with the twisting branches of a tree for Chlorophilia – Rooted Life. He describes the work as, “humans, destroying nature, are yet dependent upon it and cannot escape it.”
When Daniel Spoerri was invited to propose a sculpture for the slopes of Vesuvius, he immediately thought of a drawing by his friend, illustrator and satirist, Roland Topor who died in 1997. The crouching woman intently watched a handful of small balls rolling from her lap (I’m not absolutely convinced of this anatomical description). The Vesuvius project was abandoned and Mamma muntagna, the Neapolitans name for their volcano, was sculpted in stone for the garden by Simone d’Angiolo.
A tower of old harrows and ploughs, wedged in amongst each other and screwed together, is titled Monument to Settledness. The artist, Arman, was well known in the sixties for his accumulations of several objects of the same kind such as milk cans, hairslides and bottle caps. These agricultural machines are the insignia of soil management and are stuck, immovable and useless, while the sound of modern agricultural machines can be heard in the surrounding hills.
Amongst the olive trees, sixty geese run in the direction of Seggiano, pursued by three extremely threatening, oversized and masked figures with drums. French artist, Oliver Estoppey has included a boy standing off to the side holding a goose under his arm, perhaps protecting the bird from the Day of Wrath.
An interesting figure that appears like a piece of wood is, in fact, bronze and is carefully attached to the wall of the villa. The Pisser served as an artist shower during a sculptors’ symposium in Freiburg in 1977 and Daniel Spoerri retrieved it from storage for the Giardino with artist Alfonso Hüppi’s consent. The refreshing stream of water usually emitted from the woman was absent on this day.
A connecting link between the distant past and modernity is seen in Two Steel Lenses, One Leaning Tower and Five Geode. The installation, by Jürgen Knubben, consists of two lens-shaped steel constructions lying next to slate stones of similar shape and size, known as geodes, that are around 180 million years old. The leaning tower resembles the obelisks used in Egypt around 2000 BC as cultic stones to honour the sun god.
Daniel Spoerri wanted an iron sculpture by his Swiss friend, Bernhard Luginbühl for the Giardino. Peasant Monument comprises ploughs and parts of agricultural machines, symbols of power, and the exaggerated verticality is a symbol of fertility.
Over the course of a year, Josef Pleier visited the Giardino several times to make measurements and calculations regarding different positions of the sun. The holes in his basalt column, Sunstone, direct the gaze to certain points on the horizon where the rising or setting sun can be seen on the day of the winter solstice (21st December), the equinox (23rd September and 21st March) and the summer solstice (21st June). The opening at the top is the point of true midday when the sun is at its zenith in the sky (and it’s not 12 noon).
Pavel Schmidt has an interest in the phenomenon of kitsch, in particular replicas of popular sculptures. Do Not Open Before the Train Has Halted (Venus and David Between the Buffers) features kitsch figures of Michelangelo’s David and Botticelli’s Venus that he blew up and then glued the fragments together. They have been placed on railway buffers arranged in the form of a cross, gazing in opposite directions.
Austrian artist Erwin Wurm became famous for a series of One Minute Sculptures where he poses people in unexpected relationships with everyday objects. Sewn together at the waistband, the pant legs of Doppelhose seem to be fidgeting in the air.
The Gordian Knot is a legend associated with Alexander the Great, the untying of an impossibly tangled knot often used as a metaphor to describe an intractable problem. German artist Till Augustin created a series of sculptures with this title, two of which are presented atop pillars each side of the path. The cables were pressed together under huge pressure and then cut so that the inside of the twisted rope is visible, giving the impression the knot could spring apart at any moment.
In a hollow in the Giardino, elaborate iron constructions topped with reddish-brown, bell-shaped heads reach 4-6 metres into the sky. Luigi Mainolfi’s mushrooms symbolise The Fertile Earth in these towering species.
The bronze figure of Banzai! Banzai! Banzai! was inspired by a small sculpture standing on Ay-O’s desk when Daniel Spoerri visited him in New York. A few grains of rice placed in the boy’s mouth would traverse the short digestive tract and exit from the rear. This impressed and amused Spoerri and he asked Ay-O to produce a life-size version for the Giardino where Banzai! wishes happiness, success and good health. I didn’t realise at the time but for those wishing to see the little fella “in action”, little bags of rice are available at the reception desk.
Roberto Barni’s figures in Continuo are positioned mid-stride on a seesaw in permanent equilibrium. The title is a contrast to the musical term, Continuo, meaning a constant accompaniment provided by the bass instruments. The men are blindfolded, a typical element of Barni’s works, perhaps in order not to disappoint their illusion of progress.
Italian Luciano Ghersi describes himself as a ‘hyper-textile hand-weaver’. The chairs of The Fakirs’ Meeting are woven with barbed wire, a comment that they would be a good seat for the government which, in Italy and elsewhere, should not be able to sit back in comfort.
The Cake Dream, created by Rosa Roedelius using aluminium and clay, is accompanied by a few lines:
What remains is the cake dream
What was or will be, trivial
Floating above the water
Living things grow from it
Standing on a viewing tower taking in the ambience of the landscape, The Visitor by Esther Seidel looks out over the labyrinthine wallpath. But is he really observing it or only seeing images inside his head?
Flying Buttress is one of the many installations by Mauro Staccioli found in public spaces all over the world. Viewed as a fragment of an archway, the large steel construction establishes a link to the motto of the Giardino, Hic Terminus Haeret and to Terminus, the Roman god of boundaries and transition.
Famous ballet dancer, Daniel Nijinski was legendary for his high leaps from a standing position. A photographer captured the moment when, at an advanced age, he leapt unexpectedly for one final time into the air. Artist Non Vital based his sculpture, Daniel Nijinski Superstar, on that photograph and he is appropriately suspended high above the ground.
Yoko Ono is famous for many reasons, one of them being her contribution to art. The first iteration of Play It By Trust was exhibited in 1966 and since then has been represented in various sizes and materials. The all white interactive chessboard functions as a metaphor for the futility of war, eliminating the colour-based opposition of one side versus another. Beyond a series of initial moves, the game is doomed to failure.
After lunching in the beautiful town of Seggiano, we just had to visit nearby Il Giardino di Daniel Spoerri. The Swiss artist created the sculpture park in the early 1990s and it opened to the public in 1997. Set among 16 hectares of rolling Tuscan countryside,
there are now 113 installations scattered seemingly at random. Even with map in hand, I think we missed quite a few. There are too many works to cover in one post, with 54 different artists represented, so I will firstly cover those by Daniel Spoerri himself. The adventure begins as soon as we leave the ticket office
with an oversized cup atop an antique capital standing on the lawn.
A baking oven has been constructed in the style of a Trulli, a traditional dry stone hut from the Puglia region of Italy. Five smoke stacks, modelled on a family of tailors dummies, have been added so when the oven is in use, fine smoke flows from the heads.
Daniel Spoerri is best known for his snare-pictures, a process where a group of objects, such as the remains of a meal along with the table setting, are fixed as they are and transformed from a horizontal plane to a vertical one. There are two snare-pictures cast in bronze at the garden. Luncheon Table in All Eternity is suspended on the exterior wall of the restaurant, Non Solo Eat Art, while Eternal Breakfast, complete with bread and eggs, complements it on the adjacent wall of the estate villa.
Many of the sculptures feature ordinary objects used in unconventional ways. Remnants from a foundry form the face of The Bersagliera, a sharpshooter who seems to have received a few shots herself, awaiting visitors outside the restaurant.
A Flower Bouquet made from mirrors, a variety of rods and a chestnut roasting pan is arranged in a flattened bucket.
The artist was invited by Acquedotto Santa Fiora to create a Golem, a human-like being from Jewish folklore usually made from clay. They gave him parts of water supply systems including old pumps, valves and sieves and Acqua Golem was born.
One of the first installations in the garden, Unicorns – Navel of the World, is on the site where, according to legend, the village of Seggiano once stood. There is now a spectacular view of the town on the opposite hill. The long horns protrude from horses skulls and are held by gloves like lances leaning towards the centre of the circle.
The inspiration for Damocles’ Rose Bower Walk came from a trip to England where Spoerri sketched a pergola comprising a row of interwoven sickles. Roses and Jasmine will eventually grow over the framework.
Marble slabs depicting the last meals of twelve famous women are mounted on a wall, an unusual monument to Marie Antoinette, Hannah Arendt, Hildegard von Bingen, Tanja Blixen, Madame Curie, Marlene Dietrich, Isadora Duncan, Mata Hari, Frida Kahlo, Cleopatra, Empress Elisabeth of Austria and the goddess Leda.
Eight gaunt Nightmares appear from the shadows and I am pleased to say I have never encountered anything like these in my sleep.
The scary theme continues with the four bronze cast skulls guarding Gorilla Bridge
and the macabre totem of Skull Tree.
The title of You white? You black? comes from the merging of two figures where the African and European heads have been switched.
In a shady, wooded area, a Marble Table is set with movable pieces that are work samples from a studio in Carrara. The table is supported by cast bronze scraps rather than ordinary table legs.
Next to the table, a twisting column holds up a small golden head which appears to grow out of a flower bud. Renaissance is dedicated to the Sicilian town of Gibellina which was destroyed in an earthquake in 1968.
At the rear of the restaurant there appears to be a pile of old slippers, the kind that are made of felt and handed out at palace tours to protect the floors. No entry without slippers pays homage to artist Joseph Beuys who frequently used felt in his work.
The villa, where Daniel Spoerri lived for a long time, has been divided into four spacious holiday apartments all with fabulous views of the garden.
The Chain Heap is just that. Spoerri saw the mass of iron chains hanging in an Italian scrap merchant yard and had them transported to the garden where he augmented the collection. The result is reminiscent of a chieftain or medicine man decorated with fetishes.
Something you don’t expect to find in a sculpture garden is a meatgrinder, however, Spoerri finds the diversity of form of this piece of kitchen equipment astounding and intriguing. The 3 metre high Meatgrinder Fountain was sans water on this day but I imagine it would be quite a spectacle.
The same kitchen appliance has been combined with hat models for Warriors of the Night, a small battle-scarred army rising up from a pond.
Five life size mannequins lie distorted in a ditch, reminiscent of mass gravesites as humans destroy other humans. The Mass Grave of the Clones isn’t exactly uplifting, though, as the artist explains, “Over and over again, the Giardino shows us dark sides, for without these there could be no beauty”.
The Labyrinthine Wall Path is based on a pre-Columbian Neolithic cave drawing, altered slightly to create a labyrinthine form, it was then ‘drawn’ on the meadow using a low wall. The cosmic union of Mother Earth and Father Son is symbolised by representation of a hermaphroditic creature with a phallus and breasts.
Tintin-Elefant is so named due to its similarity to the spherically headed hero of the Belgian comic series Tintin by Hergé. Obviously, the hoseline nose contributes to the second half of the title.
When Spoerri’s good friend Roland Topor died in 1997, he felt there should be something to memorialise him at the garden. Topor was a satirist and illustrator and so Spoerri selected a drawing from which to create the sculpture that is The Eccentric Reader.
Skull Chapel verified Spoerri’s fascination with the cadaver’s cranium. The collection housed in the chapel includes Tibetan monks’ skulls, two mummies’ heads and monkey skulls.
There are so many more incredible sculptures at Il Giardino, they will be featured in a later instalment.