Galleries, museums & public art

The Invergordon murals

Posted on by Platypus Man

It’s around 11am and we’re wandering the streets of Invergordon, a small town in the Scottish Highlands, in search of its famous murals. The place is dead: all the shops appear to be closed, there’s no traffic and no pedestrians either. We’ve not logged onto the Internet this morning, so maybe civilisation ended overnight and we’ve missed out on the news?

“Fire, Fire” by Anna Stirling, depicting a fire at the Royal Hotel in 1973.

We continue to explore the main street, our eyes scanning random walls for murals, cameras at the ready. After about a quarter of an hour we encounter a dishevelled, middle-aged guy slumped on a bench seat. He eyes us suspiciously.

“We’re here for the murals,” I say brightly by way of explanation.

“Oh, them!” he grumbles, “they’re rubbish. I can do better with a can of spray paint, even when I’m drunk!”

We must be looking doubtful, so Wasted Tam – as I like to think of him – adds, with more than a hint of bitterness, “I live around here and I’m telling you, they’re rubbish. You should go to Inverness, or…anywhere but here. This place is rubbish.”

“A Century of Sport” by Alan Potter. Interesting that one of the sports depicted is cricket, as this is a game not usually associated with the Scottish Highlands.

Although it’s not yet lunch time, a miasma of alcohol fumes hovers above Tam’s head, and I calculate that if I strike a match right now we’ll all go up in flames. We resolve to treat his assessment of Invergordon and its murals with a degree of caution. But we also note that this place is not without problems!

Invergordon is a small port town on the Cromarty Firth in north-east Scotland, infamous as the spot where – in 1931 – the UK’s entire Atlantic Fleet went on strike when the government tried to cut ratings’ pay. The Invergordon Mutiny, as it became known, ended peacefully and the town slipped back into well-deserved obscurity for 70 years, until local resident Marion Rhind proposed an idea to brighten up her neighbourhood and attract visitors by scattering some murals about the place.

“Gather Round” by Alan Potter, depicting the Invergordon Highland Gathering, which was an important annual event for the local community and visitors for over 100 years

Marion was inspired to come up with her cunning plan by her parents, who told her about a little Tasmanian town called Sheffield, where gable ends have been brightly painted to depict local characters and stories. Coincidentally, Mrs P and I have also visited Sheffield and liked the place. I wrote about it on my blog of our 2016 trip to Tasmania, but never knew it had prompted a similar initiative in Scotland.

“Pipes and Drams” by Anna Starling, a tribute to the famous Invergordon Distillery Pipe Band. In the background is the former Invergordon Castle.

Following Marion’s lightbulb moment, a working group was formed in January 2002 to help turn theory into practice. The Invergordon Off the Wall group came up with the following aims for its project: to…

  • revive the community spirit of Invergordon, by giving the community a common aim
  • enhance civic pride
  • celebrate the history of Invergordon
  • halt economic decline by re-branding the town as a destination for tourism
  • create a cultural focus for the town through a special outdoor art gallery
  • promote an ongoing interest in our own history

Lofty aims indeed, and although there are perhaps not as many murals as we anticipated they are fascinating and well executed. One shows the range of sports that are, or have been, played by local people, while another offers insights into the Invergordon Highland Gathering. A third celebrates the local lifeboat and its volunteer crew, and another reflects nostalgically on “The Way We Were.”

“The Way We Were” by Steve Des Landes depicts the Royal Marine Band marching down Invergordon High Street, as they did in the past when the Royal Navy fleet were regular visitors to Invergordon’s deep water anchorage.

One of the most striking murals depicts a fire that engulfed Invergordon’s Royal Hotel in 1973. This was reportedly a dramatic, memorable day for local people, and the magnificent mural serves to keep those memories alive. Also eye-catching is “Pipes and Drams”, a tribute to the Invergordon Distillery Pipe Band. I can’t help thinking that Wasted Tam must approve of the distillery’s product, even if he hates murals (and possibly pipe bands too!)

“Volunteer Spirit” by Ken White shows the previous Invergordon lifeboat, which served in Invergordon from 1996 until 2021.

However, my favourite of all the murals is “Our Legacy”, depicting some of the wildlife and wild places to be found in the Invergordon area. It includes this quote from Trinidadian author Aliyyah Eniath –

“Take nothing but pictures, leave nothing but footprints, kill nothing but time.”

Taken from “The Yard” by Aliyyah Eniath

The quote echoes my own feelings for the natural world, and as an added bonus the colourful mural features in one corner my favourite bird in the whole world, the oystercatcher. The mural was created with the assistance of local children, whose names are preserved for posterity beneath the images they helped to paint.

“Our Legacy” by Tracey Shough features wildlife that can be see in the Invergordon area.

Taken as a whole Invergordon’s murals are a fine example of community public art, but I worry that they’ve done little to boost tourist numbers or revive the local economy. And, if Wasted Tam is in any way typical of other townsfolk, they’ve not done much to enhance civic pride either. Invergordon Off the Wall is a well-intentioned, impressive project, and deserves to be better appreciated.

Oystercatcher detail from the “Our Legacy”.

On the road again…First stop, the Kelpies!

Posted on by Platypus Man

At last, after a gap of nearly four years due to the Covid pandemic, we’re heading back to Scotland. Our final destination is Orkney – our favourite place in the whole world – but during the long drive north there’s time to stop off at some other Scottish highlights. And those highlights don’t come much higher than the Kelpies, reputed to be the largest equine sculptures in the world

“The Kelpies” by Andy Scott (born 1964)

Dating from 2013/14, the monumental steel sculptures by artist Andy Scott stand 30 metres (100 feet) high, and weigh in at more than 300 tonnes each. They are made up of an extraordinary 34,566 separate pieces, including 7,918 huck bolts (whatever they are!) and 928 steel skin plates. The pieces took a whole year to manufacture, and the final assembly of the sculptures took 90 days.

The Kelpies tower over the Forth and Clyde Canal

According to Scottish folk mythology, a kelpie is a dangerous shape-shifting creature that lives in water but can also appear on land – close to a river, of course – as a grey or white pony. In designing his sculptures Andy Scott imagined two Kelpies emerging from a river in the form of horses. His sketch (below) shows how the now familiar heads of his two creations relate to the whole animals.

Andy Scott’s vision of kelpies emerging from the water

Folklore tells us that children in particular are attracted to these cute equine critters. But therein lurks a terrifying danger, for if anyone tries to ride one, the animal’s sticky magical hide will not allow them to dismount! The Kelpie then carries its victim into the river and eats him. Worse still, Kelpies are very sneaky and may also appear in human form, materializing as pretty young women in an attempt to lure lustful men to their deaths – see below how this played out in the gratuitously salacious imagination of artist Herbert James Draper (1863 – 1920). Or they might take on the form of a human mugger, laying in wait by the river until a passer-by is close enough to ambush, capture and kill.

IMAGE CREDIT: “The Kelpie” (1913) by Herbert James Draper, Public domain, via Wikimedia Commons

Fortunately Kelpies have an Achilles heel, a weak spot that enables humans to subdue them. To overcome a Kelpie you must grab hold of its bridle, at which point it will fall under your command. Captive Kelpies are prized for their immense strength and endurance. Having been transformed from malevolent spirits into compliant draught animals, they can be harnessed to safely carry passengers or to haul vast loads.

This Kelpie dwarfs a passer-by!

Scott’s sculptures are modelled on a real life beast-of-burden, the iconic Clydesdale horse. These magnificent draught animals played a key role in the early days of Scotland’s industrial revolution, hauling barges and wagons laden with raw materials and manufactured goods to where they were needed. To ensure his sculptures captured the essence of Clydesdale horses Scott worked closely with two local animals called Duke and Baron (see below), and is reported to have developed a close relationship with them.

Helix Park near Falkirk in the central Scottish lowlands, where Scott’s sculptures are to be found, is no stranger to Clydesdales. The Forth and Clyde Canal runs through the Park, and Clydesdale horses must once have been a familiar sight trudging wearily along its banks hauling monstrously heavy barges. Scott’s sculpture pays due homage to their heroic efforts, as well as reflecting a fascinating part of Scottish folklore.

Inside a Kelpie!

Andy Scott has done a great job, creating two stunning, monumental sculptures that are deeply embedded in Scottish history and mythology. As well as viewing them from afar, this time we signed up for a special tour which took us inside one of them and enabled us to better appreciate the huge creative and engineering effort that went into making these vast sculptures. I’m so pleased that we broke our journey north to re-acquaint ourselves with the Kelpies, which are unquestionably amongst my favourite pieces of public art in the UK.

It’s World Topiary Day!

Posted on by Platypus Man

Today, Sunday 14 May, is World Topiary Day. Who knew? Not me, obviously, but Mrs P stumbled across a reference somewhere and thought it might make for an interesting post. For the uninitiated, topiary is the art of shaping shrubs and sculpting compact trees and hedges into ornamental representations of birds and animals, as well as various decorative architectural forms. It is believed to have originated in ancient Rome, was revived in Renaissance Italy, and became a big hit in 17th century England.

Tatton Park Italian Garden, Cheshire, UK (2018)

Today, if you look hard enough, you can find examples of topiary just about anywhere. We see it frequently when visiting grand stately homes in the UK, but have also encountered it in parks, gardens and other horticultural settings as far apart as Costa Rica, Australia, the US and Singapore.

Felley Priory, Nottinghamshire, UK (2017)

At its best topiary is great to look at, and you are left wondering “How long did that take?” or “How did they manage that?” and, just occasionally, “Why on earth did they bother?” It’s an art form, and I can’t help admiring people with the imagination, skills and dedication needed to turn a few random bushes and trees into something so spectacular that “Wow!” is the first thought springing to mind when you encounter their creations.

Westbury Court, Gloucestershire, UK

Of course, the trouble with living things is that eventually they die, and one of the saddest sights is to see topiary creations disfigured by the ravages of time and disease. Unfortunately, it’s a particular problem right now in topiary fashioned from the box tree. Box is a compact, slow-growing evergreen tree that is ideal for topiary work, but a fungal disease called box blight causes leaves to turn brown and drop off, leaving behind unsightly bare branches. This, sadly, is ruining and sometimes killing off many otherwise attractive topiary creations.

Trentham Gardens Italian Garden, Staffordshire, UK (2018)

Some places go mad for topiary. Zarcero, for example, is a totally unremarkable little town situated in the mountains of Costa Rica, roughly 80km from the capital San Jose. Unremarkable, that is, until you visit the park, where cypress trees have been painstakingly shaped into arches, dinosaurs, birds, dogs and sundry other shapes. Not at all what we expected on our 2008 trip to Costa Rica, but loads of fun!

Zarcero, Costa Rica (2008)

And what about Railton? Although wildlife viewing was the main purpose of our only visit to Australia – as it had also been when we went to Costa Rica – how could we resist a visit to Tasmania’s “Town of Topiary”? Looking back to my blog of that trip I see I had a lot to say about Railton, not all of it very complimentary. I observed that “Many of the living sculptures have seen better days and are apparently suffering from die-back, or neglect, or both.  A few are plainly still tended and the “topiary park” has some reasonable figures, but others have clearly been abandoned to their fate and nature is taking its inevitable course.” That was back in 2016. Hopefully things have improved since then, and the Town of Topiary is back on track..

Railton, Tasmania (2016.) The horse and jockey is probably the best single piece of topiary I’ve ever seen.

Our experience at the Green Animals Topiary Garden in Portsmouth, Rhode Island, was more positive but equally unexpected. There are plenty of good reasons for visiting the smallest state in the US, and topiary isn’t one of them. However Green Animals offered a welcome distraction from the endless extravagance of the Gilded Age mansions, and was definitely worth the side-trip we made to see it in 2007. It claims to be the oldest topiary garden in the US with more than eighty sculpted trees, including teddy bears, a camel an elephant and even a person in a peaked cap.

Green Animals Topiary Garden, Portsmouth, Rhode Island (2007)

Our own garden is large enough to accommodate a piece of topiary – indeed, our neighbour, who is a keen and talented gardener, has done just that – but it’s not something I’ve ever been tempted to try. In my view, life’s way too short to consider turning hedge cutting into a hobby. The wretched things needs clipping regularly, or they quickly become unkempt: look carefully at the photos, and you’ll see that many of the living sculptures we’ve seen over the years were badly in need of a trim!

The Flower Dome, Singapore (2019)

So instead of creating my own piece of topiary I’ll have to make do with appreciating other people’s efforts, like those shown in the photos taken from Mrs P’s extensive archive of our travels. Who would have believed you can achieve so much with just a few trees and a hedge trimmer? The way I see it, topiary is definitely worth celebrating, so long as it’s someone else who’s doing all the hard work. Have a Happy World Topiary Day, guys!

The Sculpture Park: riding dinosaurs, boosting moods

Posted on by Platypus Man

A few months ago I wrote about a controversial sculpture in Birmingham. I called the piece “Art’s Not Meant to be Easy” and concluded by observing that artists have a duty to make us reflect, to make us debate, to make us think critically about the world in which we live, even if the process is painful. In retrospect I should have said that this deadly serious task is one of an artist’s duties. On the other hand, sometimes the artist’s role is – quite simply – to help us have fun, to focus on boosting moods rather than improving minds.

"Pre-Hysteric": a sculpture by Andrew Sinclair.

Pre-Hysteric, by Andrew Sinclair

When we visited The Sculpture Park in Surrey a few months ago there was plenty on show to make us think. But there were also some witty creations dotted around the ten acre (4 ha) site, works that seemed to serve no higher purpose than to entertain and raise a few laughs. Who, for example, can fail to be delighted by the sight of well-built lady riding on the back of a dinosaur, while wearing nothing but a top hat and an anxious expression?

"Pre-Hysteric": sculpture of a naked lady riding on the back of a dinosaur, by Andrew Sinclair.

The piece in question is called Pre-Hysteric. Standing 11 feet (3.5m) high, it is made from bronze resin. Its British sculptor, Andrew Sinclair, claims never to have grown out of his fascination with dinosaurs, and has evidently put his childhood obsession to good use. Pre-Hysteric was one of the first pieces we encountered on entering The Sculpture Park, and immediately we saw it we knew we were going to have a great day.

"Pre-Hysteric", by Andrew Sinclair - sculpture of a lady riding on the back of a dinosaur, while wearing nothing but a top hat and an anxious expression
"Pre-Hysteric": a work by Andrew Sinclair on display at The Sculpture Park in Surrey (October 2022).

Pre-Hysteric could be yours to own for the princely sum of £29,000 (USD 34,000). Plus tax, of course. Our government’s a bit short of cash right now, and would very much like to get its hands on some of yours. You have been warned!

"The Butler" - A sculpture by Paul Richardson on display at The Sculpture Park in Surrey (October 2022), with the added bonus of a bottle of hand sanitiser to help protect visitors from Covid!

The Butler, by Paul Richardson

Another sculptor who made us laugh is Paul Richardson. Paul appears to specialise in grumpy old men, and since – according to Mrs P, anyway! – I am one, I suppose it’s inevitable that I should feel some affinity with his work! The Butler seems to be a servile, miserable old guy, slightly stooped and obsequiously carrying a small drinks tray. But all is not as it seems…hidden behind his back he carries a tyre iron, with which he presumably intends to beat his master into submission. His facial expression suggests that he relishes the prospect of avenging the indignities that his job has inflicted upon him.

"The Butler" - A sculpture by Paul Richardson, in which an apparently obsequious servant hides a menacing tyre iron behind his back.

Look carefully to spot the tyre iron he’s hiding behind his back!

In a magical contemporary twist, some bright spark has placed a bottle of hand sanitiser on The Butler‘s drinks tray. I’m tempted to say that we could easily manage without such reminders of the pandemic, but on the other hand isn’t it good to be able to laugh at Covid for a moment rather than to fear it.

"Doctor Foster", a work by Paul Richardson on display at The Sculpture Park in Surrey (October 2022)

Doctor Foster, by Paul Richardson

Other delightfully grumpy old men fashioned by Paul Richardson include Doctor Foster, who carries a brief case in which – no doubt – he stores various instruments of surgical torture that he will inflict upon his poor unsuspecting patients, and Jonah, who looks so fearsomely cantankerous that he’s almost certainly a politician in his spare time.

"Jonah", a work by Paul Richardson on display at The Sculpture Park in Surrey (October 2022)

Jonah, by Paul Richardson

Neither Sinclair nor Richardson’s pieces are high art, but they are supremely witty – seeing them lifted our spirits and boosted our mood enormously. After all, what’s the point of life without a bit of laughter now and then?

Horse power!

Posted on by Platypus Man

Although its primary focus is on the preservation and display of historic buildings from South-East England, the Weald and Downland Living Museum offers other fascinating insights into the lives of ordinary people in times past. A notable highlight of our visit last October was to be able to watch a team of horses ploughing a field that forms part of the Museum’s land. Only a few decades ago such a sight would have been totally unremarkable anywhere in rural England, but these days draught horses have little if any role in country life beyond their participation in ploughing competitions that hark back nostalgically to the pre-industrial world.

The term “draught” horse is derived from the Old English word dragan, meaning “to haul” or “to draw”. They are also referred to as carthorses, work horses or heavy horses. And these terms, I guess, tells us all we need to know. Back in the day, when heavy loads needed to moved or agricultural land had to be worked, the horse was England’s go-to beast of burden. Even as the Industrial Revolution started to kick in, horses toiled along towpaths hauling canal barges laden with raw materials and manufactured goods.

In these modern times, when internal combustion and diesel engines rule the roost, it’s difficult to imagine a moment when we depended not on them but instead on the humble horse. The Weald and Downland Living Museum’s mission is to celebrate and remind us of the world we have lost, and watching three magnificent horses going about their business did just that.

The Museum’s horses are Percherons, a breed of draught horse that originated in western France. Usually grey or black in colour, Percherons are sturdy animals known for their intelligence and willingness to work. They were originally bred as war horses, but later became sought-after animals for agricultural work and hauling heavy goods. As well as ploughing, the horses we encountered also help out with a number of other seasonal farming tasks. These include sowing, haymaking and harvesting, as well as timber-extraction from the Museum’s woodland.

The Museum’s Percherons seemed content in their work, and the guy leading them clearly cared deeply for their welfare. He was practising for a ploughing competition the next day, and although I’m no expert it seemed from what I saw that he and his horsey team were in with a good shout!

In addition to its draught horses, the Museum has several fine examples of historic horse-drawn vehicles. These include a spectacularly colourful gypsy caravan dating from the late 19th century, and a far more humble “living caravan” which would have been home to labourers who travelled the countryside in search of opportunities for paid work.

Like the rest of the exhibits on display at the Weald and Downland Living Museum, the Percherons and horse-drawn vehicles we saw there offered fascinating insights into a world that is almost beyond comprehension from our comfortable, 21st century perspective. I strongly recommend a visit!

Glimpses of a lost world

Posted on by Platypus Man

When we spent a few days down south last October, one of the places we were determined to visit was the Weald and Downland Living Museum in the county of Sussex. Readers living in the UK may be familiar with the Museum as the place where the BBC’s Repair Shop series is filmed, but there are plenty more good reasons to call in besides the chance of spotting the odd TV celebrity (although, just for the record, I should point out that we were pleased to see two of the programme’s regularly featured craftspeople strolling around the site at lunchtime!)

The Weald and Downland Living Museum preserves and exhibits over 50 fine examples of historic architecture originating in the Weald area of South-East England, which covers parts of the counties of Kent, Surrey, Sussex and Hampshire between the North and South Downs.

The buildings on display date from around 950AD to the early 20th century, and are spread across a site covering some 40 acres (16 hectares). The Museum lies within the scenic landscape of the South Downs National Park, which provides the perfect backdrop for the presentation of buildings that were dismantled, moved and then re-assembled on site in order to protect them from demolition.

Bayleaf farmstead, from Chiddingstone in Kent

Bayleaf farmstead, for example, is a medieval timber-framed hall-house dating mainly from the early 15th century. It was moved to the Museum between 1968 and 1972. The central hall, heated by an open fire, is flanked at one end by service rooms, and at the other by rooms for the owner and his family.

It’s interesting to note that there was no chimney, and smoke from the fire would have exited the building by seeping through the roof. It sounds eye-wateringly uncomfortable from our 21st century perspective, but at least they had a roaring fire and a solid roof to help keep them warm and dry. For the poorest people living in England, when Bayleaf farmstead was built, this would have been an unattainable luxury.

Medieval farmhouse, from Sole Street in Kent

A second farmhouse on display at the Museum is the medieval structure from the Kent village of Sole Street. Also dating from the 15th century, it was finally condemned as being unfit for habitation in 1960, but continued to be lived in until 1967. When efforts to preserve it in situ failed, it was acquired for the Museum and dismantled in 1970. It was not re-assembled until 1991.

Pendean Farmhouse, from Midhurst in Kent

Pendean farmhouse, originally from the Kent village of Midhurst was built in 1609. Times changed and building styles evolved, so this building contrasts with those mentioned earlier by having separate downstairs rooms, rather than an open hall. It also has a chimney! However it retains some medieval features, including unglazed – and therefore very draughty! – windows.

Poplar Cottage, from Washington in West Sussex

Poplar cottage dates from the mid-17th century, and has two rooms on the ground floor with two more on the floor above. It is believed to have belonged to someone too poor to own land, a labourer partially or wholly dependent upon wages.

Although clearly much smaller than the farmhouses, Poplar cottage still seems quite substantial given that it is approaching 400 years old. However, the almost total absence of windows – although understandable given the price of glass and the need to minimise unwelcome draughts – is a reflection of novelist L. P. Hartley’s famous observation that “the past is a foreign country. They do things differently there.“

A lost world, but not one I’d like to inhabit!

There are many other residential dwellings scattered throughout the Museum’s grounds, as well as some historic farm and working buildings. Photographs of a few of these are included below. Taken as a whole, the buildings on display at the Museum offer us a fascinating glimpse of a lost world, but are also a potent reminder of how far we’ve come.

It’s easy to get seduced by the romantic appeal of ancient, traditional, “authentic” structures, but would I – living in my light, spacious, cosy, centrally-heated, draught-free home with water on tap and sewage disposal only one flush away – wish to live or work in one of them? I don’t think so!

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Some of the other residential dwellings in the Museum. Left: mid-17th century house from Walderton in Sussex; Middle: Boarhunt medieval hall house (late 14th century) from Boarhunt in Hampshire; Right: c15th century house from North Cray in Kent

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A small selection of the farm / working buildings preserved at the Museum – Top left: Aisled Barn, built c 1771, from Hambrook in Sussex; Middle left: barn built about 1536, from Cowfold in Sussex; Bottom Left: Granary built in 1731, from Littlehampton in Sussex; Right: 17th century watermill from Lurgashall in Sussex

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WATCH OUT NEXT WEEK for “All the Pretty Horses at the Weald and Downland Living Museum”

Murals and metaphors

Posted on by Platypus Man

External appearances can be misleading. Uninspiring when viewed from the outside, some apparently ordinary buildings conceal hidden gems within. A prime example is the tiny church of St Martin in the Surrey village of Blackheath – who would expect to find, behind its thoroughly unchurch-like exterior, a rich and vibrant display of murals depicting scenes from the life of Christ?

St Martin’s Church dates from the 1890s, and was designed by architect Charles Townsend (1851-1928) in the Arts and Crafts style. Inspired by Byzantine and Romanesque buildings he had seen on his travels in Europe, Townsend created a low-roofed structure modelled on an Italian wayside chapel.

Instead of the traditional cruciform footprint, he opted for an oblong hall topped off with a low, barrel-vaulted ceiling. Alabaster lines the chancel walls and sanctuary arch, which are separated from the main body of the hall by a gleaming, gilded screen. In line with the principles of the Arts and Crafts movement, the church was built wherever possible from locally sourced materials.

The murals are, for me, the stand-out feature of the church. Of course, back in medieval times nearly all internal church walls were awash with paintings, but these were mostly destroyed or painted over during the Reformation. Since then, adorning church walls with murals has happened in a few places, but it remains unusual to find any English church painted in this fashion. For me, this is what makes St Martin’s so appealing.

The St Martin’s murals were painted in 1893-95 by artist Anna Lea Merritt (1844-1930). Born in Philadelphia, Merritt moved with her family to Europe in 1865. By 1870 she was living in London, where she met the noted art critic Henry Merritt (1822–1877). They married in April 1877, but sadly Henry died just three months later.

Anna outlived her husband by over 50 years, and – remarkably for a woman of that period – spent her days, and earned a living, as a successful artist. She believed that true religious feelings are accompanied by light, hope, and cheerfulness, and her murals at St Martin’s convey the message wonderfully. St Martin’s is unlike any church I’ve ever visited, and one that I shall never forget.

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Surrey is several hours drive from where we live, so it’s unlikely we’ll be making a return visit to St Martin’s any time soon. However, there is a church much closer to home that also boasts some fascinating murals. St Mary’s Church in the Derbyshire village of Cromford was built in the last decade of the 18th century. It is historically significant as the final resting place of Sir Richard Arkwright, builder in 1771 of the world’s first water-powered cotton-mill.

Arkwright, regarded as one of the founding fathers of the Industrial Revolution, commissioned the construction of St Mary’s to serve the workers at his Cromford cotton-mill. However, the striking wall paintings were not added until 1898, as part of the church’s centenary celebrations. The artist responsible for them was Alfred Octavius Hemming (1843-1907).

From the outside St Mary’s looks more typically like a church than St Martin’s. But here too there is no hint of the splendid and highly unusual murals that lie within. And perhaps we should see this as a metaphor, or maybe a life-lesson? External appearances, these two churches remind us, are often misleading. We should endeavour to look beyond them to seek out that which initially lies hidden from view. Only by doing so do we stand a chance of discovering deeper meaning and true beauty.

Art and Nature in harmony: the Hannah Peschar Sculpture Garden

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The Hannah Peschar Sculpture Garden is a very special, magical place where art and nature exist in perfect harmony. Hidden away in the leafy Surrey countryside, the garden was the brainchild of Dutch journalist-turned-art-curator Hannah Peschar and her New Zealander husband, the landscape artist Anthony Paul. They acquired the property in 1977, and spent over half of their adult lives turning it into a place to enjoy – and maybe even to purchase – some wonderful sculpture.

Fragment, by Jill Sutton

At the heart of the site stands a 15th century cottage, set in 10 acres (4 hectares) of gardens. These were first landscaped in the 1920s, but had been left unmanaged for around 30 years and were therefore vastly overgrown when the couple moved in. Anthony spent the next five years restoring order to the chaos they had purchased. Hannah, meanwhile, was contemplating how the reclaimed and newly landscaped garden could be put to good use. Her “big idea” was a public sculpture garden, a courageous vision at a time when such ventures were all but unknown in the UK.

The 15th century, Grade II listed cottage where Hannah and Anthony lived from 1977

The Hannah Peschar Sculpture Garden opened to the public in 1986. Every year around 200 pieces are on display, the work of more than 40 artists from the UK and Europe. The sculptures come in various shapes, sizes and styles, and make use of a range of materials including bronze, stone, wood, wire, glass and ceramics. Most are available to purchase, but only by those with gardens and bank balances that are big enough!

Reclining Valencia, by Paul Vanstone
New Dawn, by Jeremy Moulsdale

What makes this place particularly appealing is the placement of the pieces. Unlike some similar enterprises, there is no sense here that the curators have crammed in more sculptures than the garden can tastefully absorb. The positioning of each amongst the verdant foliage has clearly been planned with great care, and all are given sufficient space to sit comfortably within their surroundings. Every sculpture has the opportunity to shine, and no doubt this helps with the sales figures, which – let’s face it – is the name of the game.

Forget Me Not, by Nicolas Moreton
Inca, by Nimrod Messeg

I would be lying if I claimed to like everything I saw when we visited last October, but overall the collection was a pleasure to view. And to do so in the tranquil surroundings of a beautifully landscaped garden was an absolute delight. Nature and art are in perfect harmony here, each enhanced by its juxtaposition to the other.

Standing Mare, by Stuart Anderson

Sadly, Hannah Peschar passed away in 2021, but Anthony Paul continues to live in the Grade II Listed cottage he and his wife bought nearly half a century ago. The garden that encloses it is a fitting tribute to their enormous vision and creativity, and is well worth a visit if you’re ever in the area. You’re certain to see something you really like, but do check the prices carefully before reaching for your credit card!

Clockwise from top left: Scylla, by Giles Rayner; Pinnate Leaf, by Peter Clarke; Keeper of the Light, by Jeremy Moulsdale; Interred in Aluminium by Joseph Hillier; Flight of Fancy, by Jilly Sutton, 2022; If, by Guy Stevens; Big Red Flower by Neil Wilkin.

Beautiful, extraordinary and utterly magical – Watts Cemetery Chapel

Posted on by Platypus Man

I must confess that I’d never heard of the Watts Cemetery Chapel before our visit there a few months ago. The little building doesn’t appear to be well known, either locally or nationally. Maybe that’s because it’s hidden away in deepest, darkest Surrey, on the outskirts of a little village, languishing on a road to nowhere. Or maybe because it was designed by a woman, and has therefore – until quite recently – been under-appreciated by the male-dominated architectural establishment?

The designer in question is Mary Watts (1849-1938). She was the wife of George Frederic Watts (G F Watts, 1817-1904), one of the most accomplished painters and sculptors of Victorian Britain. Mary was herself a hugely talented artist, and when their village decided to create a cemetery to increase the capacity of the local graveyard she saw an opportunity to push herself further than she’d ever been pushed before. She offered to build for the village a mortuary chapel, which is a consecrated space in which bodies of the dead can lie briefly before burial or cremation. Mary’s loving husband, 33 years her senior and significantly wealthy thanks to his successful career as an artist, provided financial backing for the project.

The Chapel was built between 1895 and 1904, with a floorplan that is best described as a circle intersected by a cross. Mary’s work oozes with mystical symbolism, and the floorplan is just one example. She described it as “the Circle of Eternity, with the Cross of Faith running through it.”

From the outside, the Chapel looks like a Byzantine or Orthodox Church that has been lifted intact from its place of origin and incongruously deposited two thousands miles away in the leafy Surrey hills. It is built from small bricks made from a local red clay, and the exterior is decorated with a variety of intricate terracotta panels. These boast a complex array of symbols derived from Celtic, Romanesque, Jewish and Egyptian traditions.

Magnificent though it is, the external appearance of the building gives no clue to the wonders that lie within. The walls and vaulted ceiling are totally covered with rich, vibrant decoration. The senses are assaulted by the range of colours, by the glitter of gold and silver, and by a magical, metallic lustre. Angels stand in a circle around the walls, and in the centre of each group of them rises a Tree of Life, its roots entwined below like the arms of a crazed octopus. Above each group, a Seraph (a form of high-status angel) clad in “the crimson colour of love and life” raises its hands in a sign of blessing.

Taken as a whole, externally and internally, the Watts Cemetery Chapel is truly mind-blowing, so it is no surprise that the noted writer and broadcaster on architectural matter, Lucinda Lambton, wrote this about it:

‘It is no exaggeration to say that the Watts Cemetery Chapel is one of the most beautiful, one of the most extraordinary, original, marvellous and magical buildings in the whole of the British Isles!’

Lucinda Lambton

Interestingly, the decoration of the Chapel was a community endeavour. Mary encouraged local people to explore their own creative potential by getting them involved in making some of the external terracotta panels and internal decorative features. The faces that decorate parts of the vaulted ceiling are cherubim and are representations of local children who helped with the project.

Work on the project was completed in 1904, the same year that Mary’s husband G F Watts died. Appropriately, the casket containing his ashes was displayed in the Chapel, before later being buried in the cemetery. The Chapel, and the adjoining cemetery, continue to be used to this day. It is good to know that this wonderful, Grade I Listed building is not simply a tourist attraction, but continues to be used for its originally intended purposes. Long may it continue.

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Postscript: To learn a little more about the Chapel please view this brief video produced by the Watts Gallery Artists Village.

Getting weapons off the streets – the Manchester Anti-Violence Bee Monument

Posted on by Platypus Man

It’s a jungle out there. Living in a secure property on a comfortable middle class estate in a quiet Derbyshire town, it’s easy to forget the dangers of gun and knife crime. But only if you throw your television, radio, mobile phone and laptop out into the street, and lock yourself away from modern Britain. The news media revels in crime stories, even in the festive season, so its no surprise that the recent murders of Elle Edwards (shot in a pub in Wallasey on Christmas Eve) and Cody Fisher (stabbed in a Birmingham nightclub on Boxing Day) got massive coverage.

The Manchester Anti-Violence Bee Monument – parked up for the day outside a local filling station and café

Don’t get me wrong, it could be much worse. The murder rate per 100,000 people in the US is more than four times that in the UK (2018, extrapolated from data quoted in the World Population Review). Maybe that reflects, in part, the fact that in this country there is no constitutional right to bear arms (of course, we have no written constitution at all, but that’s another story altogether!) Our laws surrounding the carrying of weapons are strict, and I for one am enormously grateful for that.

But the law isn’t much of a deterrent or an obstacle to those who don’t respect it in the first place. There’s no shortage of weapons to be had in this country, so long as you know where to look. We urgently need to get them off our streets. With this in mind, Greater Manchester Police have committed to an ongoing amnesty project. It seeks to encourage holders of such weapons to surrender them voluntarily.

Some of the weapons collected have been used to create an anti-violence monument for the city. The monument takes the form of a giant bee, and is made out of literally hundreds of knives and firearms surrendered during the “Forever Amnesty” project. The artwork visited a local town near us a few weeks ago, so Mrs P and I popped along to where it was parked up to take a look.

The artists behind the Bee Monument are from the British Ironworks Centre, where the stunning Knife Angel was also created. It’s hard not to find the Monument both enormously impressive and seriously alarming. On the one hand it is magically eye-catching, bristling with glinting knives and glowing with well-oiled firearms. But on the other hand, I would never have believed there were so many deadly weapons in Manchester…which I guess shows just how innocent I am! And I wonder how many more are still out there, primed and ready for use by people with malice in their minds?

Seriously alarming…or a symbol of hope?

The Bee Monument is a splendid sculpture which does a decent job in raising awareness about the scale of the problem. But maybe, also, it’s a symbol of hope, showing that – with commitment and creativity – objects so profoundly ugly as weapons of death can be re-cast into a thing of beauty.