Oak woods and banks of wildflowers set the scene for our arrival at Chateau la Coste, the first of our series of visits to gardens near Aix-en-Provence.
One needs comfortable shoes and plenty of time to explore the smorgasbord of thought provoking installations at Chateau la Coste which describes itself as 'a vineyard where wine, art and architecture live in harmony'. We walked for a couple of hours through the woods and vines to the sites selected by the twenty or so artists.
As there are so many of them, it is not possible here to reflect on all the varied structures installed by the artists. I appreciated Louise Bourgeois' slightly malevolent 'Crouching Spider', and Frank Gehry's dramatic Pavilion de Musique but at the same time, the gardener in me was looking for works with harmonious shapes which connected to the natural world around them.
The American artist Tom Shannon's polished stainless steel 'Drop' is a perfect fit in the near and distant landscape. Appearing to float effortlessly on its plexiglass support, the flattened sphere is an arresting sight; a complete contrast to the surrounding countryside, but blending at the same time with the surrounding trees and with the ever-changing sky reflecting in the mirror-like surface. Is the beautiful and serene droplet also a statement about the consequences of climate change and our dwindling supplies of water?
'Donegal', the Irish artist Larry Neufeld's two immaculate slate bridges interact beautifully with the landscape and each other by referencing the curve of the distant hill behind, while under the double arches the breeze bends the water reeds beneath into graceful curves. Man and nature in perfect harmony.
South Korean artist Lee Kufans' 'House of Air' questions our perceptions of the natural and the man-made world. In front of the house, a large stone found nearby on the property sits in a forecourt of pale coloured gravel with a dark shadow. But is it a shadow? Darker coloured gravel defines what our eye perceives to be a shadow. And when the sun shines, a second shadow is another contrasting, moving element.
The gardener in me is alerted to the fact that this simple device, an object with an artificial shadow, could be easily adapted as a witty installation in our home gardens.
Inside the Temporary Exhibition Gallery, Chinese artist Ai Weiwei's exuberant and ethereally beautiful installation, woven and stitched out of natural materials - cane, silk fabric and fine twine, was a powerful and challenging series of statements on the artist's interpretation of creatures in Chinese and mythological texts. His favourite themes of politics, exploitation, and resistance are introduced and the information supplied helped to make sense of the meaning behind the exquisite shapes and shadows. It was a final note of magic which was the end of the beginning of our first 'Art and Gardens' experience.
Text and Photographs: Ruth Caple
It was a wild and wet afternoon when we arrived at the 17th century bastide of Romégas and its garden. We were welcomed and told how the property had been restored over the last 40 years. The house lay down a very narrow lane with an even tighter entrance and driveway before the parking area on the old threshing floor, to the side of the buildings.
In front of the house was an impressive 18th century box parterre with a pool at its centre.
A narrow winding path led down through woods past a chapel, pools and an aviary. Eventually we emerged at the lower end of the gardens onto a wide grassy area that ran all the way back up to the house. With the woodland on one side and a scalloped border on the other, backed by cypress trees, the ensemble was very pleasing. Poppy fields bordered the garden. In nice weather, the vista over fields to the Mount Sainte-Victoire is said to be spectacular. Unfortunately, we will have to go back on another occasion to enjoy the view.
At the top of the garden there was a recently constructed kitchen garden surrounded by roses, with an orchard behind. Along the front of the house were some fine urns and at its side a stable block with a dove cote above.
It was a pity that the weather was so inclement but we still found it a lovely garden to visit.
Text and photographs: John and Jill Patterson
In the village of Éguilles, near Aix-en-Provence, there is a garden belonging to the artist Max Sauze which was awarded the label ‘jardin remarquable’ by the Ministry of Culture in 2005. Our visit started when we stepped into Max’s art gallery and were warmly welcomed by his wife, Anne Sauze-Leberre. We were immediately intrigued by his highly imaginative work and the iconic lamps made of bent aluminium strips, lamps and steel wire. These lamps helped to establish Max’s reputation as an artist and master of design during the 1960s after he arrived in France from Algeria, where he was born.
Max Sauze moved to Éguilles in 1963 to a house with an abandoned vegetable plot surrounded by a few fruit trees, a large lime tree, a plane tree and a palm. Amongst these trees Max added others: black cedar, red thuya, blue cypress, cherry, olive and plum. Shrubs were planted including Philadelphus coronarius, Viburnum tinus, Pittosporum tenuifolium, Mahonia aquifolium and perennials such as Ballota pseudodictamnus, Euphorbia characias and Vinca minor. Over the years this area was lovingly transformed into a shady, intimate and natural setting for his sculptures.
For over 60 years Max has been conceiving, designing and creating all kinds of shapes in a multiplicity of materials including metal, paper, plastic, snail shells, stone and wood. He has a total mastery of these materials and draws inspiration from nature, working on the multiplication of form from a simple base. Walking through Max’s garden is like being in a tiny universe both intimate and poetic. It is a feast for the eyes, where sculptures blend in with their back ground and at every turn one is both intrigued and delighted.
Text and photographs: Tilly Chambers