HIDDEN GARDENS

- MY SECRET GARDEN -

Make your way over the green turfs of the golf course, towards the back end; cross the river and then a stream, walk a ways through the trees, and you will find the secret garden. 

"This way."

"Don't get your feet wet."

"I think it is better to cross here, there are a few stepping stones." 

I was fifteen when I was first taken to the garden. Nobody knew who kept it in good condition - who had cut the lawns, or put up the rope swing. The garden path ran alongside the river, dipping in and out of small dells filled with mossy lawns and tall trees. Human hands had been at work there, yet it seemed somehow natural, without flowerbed or symmetry to ruin the organic designs of those weaving walkways. It was as if a spirit had walked there, and in its wake lay a trail of dead leaves, cutting through the archways of bush and fern.

The discovery of that garden, by my young friends, must have been a happy chance indeed. For who would know to walk that far into the woods, behind a large golf course... Only children would venture so far. Those were the days where we walked a lot. Without cars, without cares, without bedtimes. 

I went back to the garden many times, and even found a garden of my own - much nearer to my house. This garden was an open dell, by the riverside, and placed there by some unknown hand was a stone plinth. I spent a lot of time wandering these gardens, pondering the magic of such hidden places.

Later, I carefully crafted small plaques to let others know of the magic that dwelt there - in the gold course garden, and by the river. The plaques were of brass, and the messages were somewhat cryptic, but who would even see them? The fairies? It turns out, secret gardens are visited by many wandering souls...

The plaque on the plinth reads:

Look around, find something special and place it here. 

To this date, I have found many special things on that plinth: 

A round rock, broken in two halves.
A rusted key.
A piece of papery bark, from an shedding tree.
An old shoe.
A drying fern.

These new discoveries never cease to delight me, when I visit. It is as if I am communicating with the unseen visitors. They know what I know: that these gardens are something special, in and of themselves. 

DRAWINGS FROM ABROAD

Madonna and Child with Two Angels - Fra Filippo Lippi

- THE GRAND TOUR -

Three hundred years ago, wealthy young Englishmen began taking a post-Oxbridge trek through France and Italy in search of art, culture and the roots of Western civilization. With nearly unlimited funds, aristocratic connections and months (or years) to roam, they commissioned paintings, perfected their language skills and mingled with the upper crust of the continent.
— Matt Gross, Lessons from the Frugal Grand Tour

Three hundred years later, in the galleries of London and Paris, I stood, pencil to paper, in a world of my own. My grand tour may not have been so grand, nor so entwined with the upper crust, nor was it undertaken after my studies (in fact, it was just before my first year at university). Yet, it was a time of growth, of stretching my limits, and of great learning. 

I learnt of the line of Botticelli's painted hands, and of the round cheeks of Raphael's models. I learnt of a time far from my own. Of monks in cells with bare white plaster walls, adorned with only a painting of the Crucifixion; and of the scraping of hides for use in a book of illuminated scripts - so delicate, intertwining, and colourful that a whole day could be spent gazing at their curlicues. I learnt of light and air, and of Monet's garden in all the seasons of the year. 

These are some of the remnants of my Grand Tour: sketches of that time in my life, when I stood in front of those paintings, breathing the very air that had touched them and gazing at the brushstrokes. A thin veil connected me, then, to the brush and the hand that painted those strokes. 

Saint Catherine - Raphael

Portrait of an Unknown Woman - Leonardo da Vinci

Nymphéas - Claude Monet

Mars and Venus - Botticelli 

 

GOLDEN THISTLES

gold-wedding-dress-couture-historical

- HISTORY IN THE MAKING-

A GOLDEN WEDDING DRESS

This was my ultimate art project, which indulged my longing to make something beautiful, whimsical and magical, something BIG.

The concept arose from fairytales; more specifically from the language of fairytales and how we often apply this language to our discourse on relationships and marriage. Women are subtly being exposed to the dream of a knight in shining armour and their own happily ever after everyday through the media. All this aside, the dress represented that dream - with its large ball-gown skirt and train, the soft shade of gold, and the bazillion buttons down the back. I researched into every nook and cranny about my topic, looking from the past (Jane Austen, Queen Victoria and Dior) to the present ( including the more recent royal weddings). The dress itself is made from silk Dupioni, in a gorgeous champagne gold. 

I personally made the pattern using a dress form and draping techniques, then sewed the underskirts with ruffles and hoops, then hand-stitched the entire outer dress including the silk corset panels lining the inside, and the tiny thread button loops for all those buttons. To top it all off I embroidered the opening in the train with ribbon, thread and pearls in a thistle design. 

All this hard work was part of my dream - I felt as if I was stitching magic into the dress as I sewed. Every time I sew, I spend those hours thinking of the result: of the 'oohs' and 'ahhs' and the delight of any recipients. This dress was no exception. It was all well worth it, as I was allowed to exhibit the final piece in the Public Library ( a fitting place for an artwork with a literary theme). Then, to top it all off, I got the dress and an article into New Zealands Bride and Groom!

P.S. Although I did iron it carefully before the shoot, the dress was having a bit of a Princess Diana moment... 

 
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golden-historical-wedding-dress
Bride and Groom cover
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