If you have nothing then start with that. The best outsider artists do just that, working with whatever scrap materials are at hand. There are countless back garden Gaudi’s, pains-takingly raising their own Sagrada Familias; and numerous unsung Andy Goldsworthy’s, attempting their own landscape art (as on the Isles of Scilly, where the stone labyrinths known as ‘Troy Towns’ have spread across the archipelago after the first was apparently fashioned by pebbles by a bored light-house keeper). There is something about beaches that is conducive to art – perhaps not surprising when one considers the numinosity of liminal places. We have been drawn to make art and icons and leave offerings at such thresholds for millennia – as acts of propitiation against forces beyond our control (death, illness, war). Prompted by a diagnosis that he was HIV-positive, visionary film director Derek Jarman (1942-1994) moved to Prospect Cottage, a small shack near the Dungeness Power Station, in the late 80s. There he continued his film-making, celebrating his new location in a feature-length film, The Garden (1990), writing, and art, creating a sculptural garden on the shingle with small circles of flints, painting poetry onto the black timber (John Donne’s ‘The Sun Rising’), and basically transforming a wasteland. Of his beloved garden, Jarman said: ‘Paradise haunts gardens, and some gardens are paradises. Mine is one of them. Others are like bad children, spoilt by their parents, over-watered and covered with noxious chemicals.’[i] In the shadow of a nuclear power station and his own terminal condition, Jarman’s garden was, and still remains, a poignant and brave act of creativity.
[i] http://www.gardenvisit.com/garden/derek_jarman_garden_prospect_cottage_dungeness [accessed 15.02.2016]
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Copyright © Kevan Manwaring 2016
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