More on Louisville’s Newest Park(s)

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The Parkands of Floyd’s Fork is a gorgeous conglomeration of other parks: Beckly Creek Park, at the entry on Shelbyville Road, begins a park-touring Odyssey designed for all 4 seasons of Nature in an incredibly beautiful Kentucky at its best. The entire $120 Million donated effort is nearly complete, having begun in 2012 the process of removing invasive species and replacing them in great huge, gorgeous swaths with local wildflowers and grasses. The volunteers who performed so much of the early work deserve world class applause. The result of everyone involved’s hard work is a real sense of Perfection.

This park has recently become a center of my medical rehabilitation from a crazy cosmic series of physical injuries. The gorgeously heavy early Summer air supports the jungle -like growth which is a Kentucky forest in Summer. Consistent downpours and spectacular thunder and lightning effects long into the night, sometimes still rumbling in the morning, make for a green environment in ideal growing conditions. Forests are incredibly dense, often featuring unique species such as Kentucky Coffee Trees, the common but lovely state tree, The Tulip Poplar, Hickory and the stately, huge and colorful Sycamore’s who lighten the already-rich environment.

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And, of course, the park is named for the creek which passes through – sometimes raging, sometimes still – the creek is the heartbeat.

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I was lucky enough to be around while smaller creeks feeding Floyd’s Fork took on a serenely luscious look.

001Visiting the creek often in other locations every trip I make, I discover an old Sycamore snag protruding out as foreground for a still-life of calm riverhood.

DSCN1333[1]The history of flow rates and rushing water is easily enough spotted, even – or especially? – when the water recedes..

DSCN1331[1]Even having lowered, the water level still satisfies the gurgling reputation and surprises with its volume.

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The most remarkable part of all is how the hundred miles of bike trails – a cyclist’s paradise with an eventual circling route around the entire city – follow the creek itself. Paddlers, kayaks, bicycles, fishermen – all are welcome and pretty much all return like me to savor this bountiful Natural Feast.

Next post, we will visit the Interpretive Center, the great playground and the stone work of some breathtaking specialists in a park which spared no expense in meeting craftsmanship excellence.

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Landscaping As Radical Art

The term “radical” stems from the original Latin radicalis – “of roots” and from Latin radix “root”. Whereas, this term ironically resembles “Conservative”, owing to Conservatism’s high valuation of something’s earned past (especially when confronted with “radical change”), I really like the application of “radical” to art as something very nearly opposite of the spirit of its definition. “Radically opposite”, in fact. The term is loosely applied here, but in the overall “sense of things”, it fully meets the spirit of my claims regarding the stunning evolution of a trade which has seen periods of high fashion – from Ancient Times and Babylon’s Hanging Gardens to Frederick Olmstead’s White City and his incredible collection of urban designing accomplishments. Currently, we see regular people create masterpieces of riveting detail and variety in their own fabulous yards, inspiring more public artists and landscaping specialists in a wider realm. I have always said that the best work I ever ran across were productions made by homeowners in the experimental privacy of their own homes.

My current usage of the term “Radical Art” indicates a departure from “the regular” cosmetics of a trade so long defined as just an adjunct to buildings and their grounds – the General Field of Landscaping. It is my conviction that landscaping has evolved into its very own species of art and architecture, outgrowing “Dad” –  into it’s own sort of identity as it evolves further into real art.

Of course, architectural renderings oversee the more vast properties of our urban environments. We’re talking huge.

Noguchi:

 

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What we now see all around us in growing profusion are swaths of land, of urban and suburban wonders, we can simply no longer take for granted and which rivet our minds and souls in ways by which we find ourselves utterly challenged. Some are larger than others:

This work of art in Australia, known as ‘Mundi Man’ or ‘Eldee Man’ was constructed by noted painter Ando (website here) and is located on Mundi Mundi Plains, NSW. It is the world’s largest art work, covering some 4 million square meters, or 5 million square yards. That’s a lot of “cosmetics”!

Antonio Gaudi may have set the Lunatic Fringe of Radical Art in landscaping with not only his remarkable building designs, but in the incredible complexity and bizarre designs so rife at Park Guell in Barcelona, Spain. His admixture of “primitive” and ultra-modern are well-illustrated in this photo I gathered from this website, dealing with Cruises.

 

From the same park………….

 

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Underneath this….

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The stunning work of Isamu Noguchi, as offered in the first photograph above, has also offered a primary glimpse of landscaping radicalism for long years prior. Now fully enacted by a fabulously and numerically-rich coterie of building designers, the arresting visual and sensual 360 degrees of 3 dimensionality of landscaping reaches an exemplary peak in his work. Below is his spare, yet incredibly evocative construction of a park erected on the site of a former garbage landfill.

Moerenuma Park, Sapporo, Japan:

 

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My view of these installation includes the packages relative to the advancement of technological breakthroughs in the machinery itself of construction. If Da Vinci could conceive of “lift”, “displacement” and the eventual forms which encourage Mankind to fly, then the wildly impractical new wonders of Drip Irrigation, water pumps and advancements in adhesives have opened an entire realm of gravity-defying work of its own.

Vertical Gardening will produce many Babylons, right before our every eyes:

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Even residences will gain from inexpensive-yet colorful profusions of verticality, a technology now just getting underway.

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The advent of the Mini-Excavator, in my world of installations, has produced amazing wonders, quickly-accomplished, only requiring an imaginative combination of materials, designers and installers to implement the next wave of the booming field of water features. Note here the incredible handsomeness of the stud at the business end of such a handy little monster of torque:

 

The above became this……….

 

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Fountains, water, radicalism, sound and senses…………………..

(Noguchi again):

Lighting has caused a Mini Sensation and a completely outrageous burst of creativity in the field as well, from simple, well-placed uplights and filters of a smaller but ineffably gorgeous dimension:

To the radical fringe of massive urban production such as this Mall Fountain in Singapore – the world’s largest fountain:

More Radical yet, we have the entire realm of fountains and the myriad new applications of water, beginning, once again, with Noguchi’s completely impractical 9 Floating Fountains at the 1970 Osaka World’s Fair:

My belief is that we are just entering a field which promises a burst of fabulous artwork of increasing meaning and relevance. I honestly believe we are being pushed outdoors, kicking and screaming, as our back yards become “destinations” and extended living rooms, kitchens and dens. Our cities become more vibrant when we supply other “destinations” to please the eyes and senses. The factor of radical art in landscaping may even supply microcosmic pleasure in the tools and those items which we have so long merely taken for granted………..

such as garden furniture, as Helen Nock (website included)  so brilliantly illustrates:

Walls and fences take on some structural interest when in the hands of Micahel   Eckerman of Santa Cruz, his website here. A surfer and gatherer of native materials, his formations show movement and form which closely resemble the behavior of ocean waves:

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The creations we see today raise our vision and stop our wandering eyes so that we can better focus on their message. The “message”, as in all art, is that of celebration of our shared humanity. These spiritual accomplishments encourage us all to be better people, in every way.

I am glad Landscaping enters the realm of art itself. The scope of the trade has no conceivable limit, from the very tiniest of realms to those of massive scale. It is Man tickling Man and the sooner we understand that, the more we can create and enjoy more of the same.

 

Avante Garde Things – Real, Not Trends

Yes, this is another recycled post from about 3 years ago which I feel good enough to re-post with a couple of additions. Inasmuch as I am officially a “retired landscaper”, we will not be seeing more pictures of myself and friends on the job.  My last one was about 2 years ago, here in Louisville.

For a landscaper, any intensity of interest towards something Avante Garde might seem unusual. But these are the bizarre personal complications our Maker has decided to afflict some of us with. The inspiring nature of art needs to be a part of any grade school and especially junior high school curriculum. Artists hang out way out there in their own whimsy, dedicated beyond the norm to present a weird brand new world of wonder for we admirers to sensually and mentally take in. They perform these works selflessly and most often wordlessly.

Enjoy.

My good fellow blogger Frances the other day lamented the curse of “trends” in gardening, speaking to an irritation I can cop to as well. Here is her rant – fairegarden -and I sincerely implore people to check it out – for the colorful explanations of her angst as well as her usual stunning pictorial abuse of her very own garden. It made me consider the qualities of art and, really, everything – and it also made me consider those things which move me most.

I have a very real fascination with what I consider to be current  ‘Avant Garde’ artists. I also like the connoisseurs of those artists who blog, review and attempt to describe their heartfelt relationships with wild ideas. A restless pursuit of new things can be an addiction – at its worst we become unseated from our table, off chasing the current butterfly. At best – and these are the moments we cherish – we discover something new, uplifting and which cracks open a window into another world entirely. The sheer differentness of utilizing normality to express meaningful connections in new and unique ways shows us our own potentials in their amazing variety. It reveals, too, a depth which is so fortunately unfathomable at its highest expression.

Here is Ernst Reijsiger and Mole Sylla last Summer at a workshop in Amsterdam using classical elements of beat, instruments and the rest but putting it into a stew of cross cultural and uniquely human celebration:

Nor does the stark ability of an artist in his or her moments of great achievement mean any less simply because of the era. Our discovery makes it contemporary in all the important ways, be it the Avant Garde qualities of Antonio Gaudi or the painted styling of Hieronymus Bosch. The unattributed photo below illustrates an incredibly stark imprint of time and place on the part of the artist. In its enlarged state, perhaps you too can find why and how I found myself utterly riveted by it.

A partially-excavated Sphinx looms in its unfinished excavated form and quite broken splendor over the relatively tiny bodies of workmen or perhaps passing Bedouins who had used it as a shady rest stop for Centuries. The contrast of modernity – which is the picture itself – mix with the grandness of scale and the breath of living subjects amid the ruinous nature of Time.

Clicking to enlarge this picture reveals far more than the compressed visual here. Indeed, all of these are prone to enlargement, although I have scaled back the monster shots which take up so much bandwidth, to Annette’s relief.

Less than a pursuit of genius – which is another level of inquiry and surprise – I glory in little discoveries of felt presentation which move me in mysterious ways. Needless to say, among the Avant Garde of modernity, architects and builders tend to rule over a region of art and accomplishment like few others – and I include landscape design artists such as Isamu Noguchi who make indescribably evocative and massive sculptures out of land and the products of Earth itself.:

Below is what was a landfill in Sapporo, Japan before Noguchi changed things:

More Personal – My Private Enthusiasms:

An absolute favorite artist of mine is a lady named Helen Nock – website here – who plies at garden furniture construction, sculpture, iron work, roofing tile salvage and who puts together gloriously beautiful and impractical pieces over in merry Olde England and with whom I share yuks on Facebook. Her overall body of work is absolutely and utterly unique:

Michael Eckerman of Santa Cruz, California is an artist in stone – among other mediums – website here – who constructs structural landscape elements using a bizarre variety of forms and materials. In the case of this landscape retaining wall, hard by a driveway, his love of surfing and the ocean display an uncanny sense of motion and force. Nor is this the only case where Michael works with nature to provide breathtaking works of landscape and interior home art.  His work has to be seen to be believed:

In closing, I can hardly think of a more interesting sampler of sound and depth than Joe Zawinul and his usual collections of the best musicians on the planet:

The Nature Of Genius – Werner Herzog & Ernst Reijseger

Once again I have opened up the archival Vault of Uselessness in this blog to give another look at some of the things I like most. As is the case in any blog, the selfish interest of the author is thematic – and, in this case, plain fun. I watched this movie again the other night just for giggles and it amazed me for a second time. The carcasses of ancient animals which had become glazed with stalagmite juice, basically “Quartzified” into stone, reminded again me of the sheer scope of this discovery.

Human art dating from over 20,000 – 30,000 years ago and just as subtle and beautiful as if it been accomplished by talented modern hands, displayed gallery-like on the walls of ancient caves, is only one of the fascinating wonders which Werner Herzog takes us through. His mix of music throughout the film is another glory of novelty. The best browsing of this post would be to begin the music video below and then read the text. Try that.

Reading Henry Miller some years ago, I never forgot his delighted discovery and his fascination with the term “Chthonic” – as if it had appeared to him as a magical key to describing ineffable events. This film and even its sounds are completely “Chthonic” and of a piece. It reminds me of nothing – they both stand on their own.

chthon·ic
ˈTHänik/
adjective
  1. concerning, belonging to, or inhabiting the underworld.
    “a chthonic deity”

To the archives, then……….(pictures enlarge by clicking).

For further investigation, here is the delightful Wiki entry for these incredible caves:

https://en.wikipedia.org/wiki/Chauvet_Cave

OK, this is a stretch for a simple landscaping blog. Just know this: I know that and let me say my piece. 😉  It’s never stopped me before, has it? This one deals with the Earth, having said that, and that’s my own area. Dirt rocks and so do rocks.

I recently went to the movies, chucked on my 3D glasses and watched one of the most stunning movie events I have ever seen. The film is called “The Cave Of Forgotten Dreams” and I cannot possibly recommend it high enough. It was directed by Werner Herzog and deals with an inside look at the astonishing Cave of Chauvet-Pont-d’Arc, where artists as long ago as 32,000 years plied their art of cave-paintings, using the walls of this gorgeous, previously-hidden cave as their canvas and using the folds and 3 dimensional aspect of the terrain itself to provide depth, apparent motion and breathtaking artistic ability.

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The extremely cautious French Government goes overboard in scrupulous preservation paranoia, and the film mentions this. Protecting the inside treasure is testified to when references to them shutting the cave off to visitors for a few months was felt necessary owing to “The breath of visitors is causing a mold to adhere to the walls.” This is a look inside – a rare moment in time and one which may or may not ever be replicated.

The cave simply reveals life at that time in a manner which nothing else possibly could. The genius is inside the art itself, of course, but the creative genius of Werner Herzog amplifies it, juxtaposing all this with modern perceptions of an era, seen from the best anthropological, psychological and paleantological minds of our generation.

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Borrowing this piece of breathless excitement emitted by  a movie review in the New York Times:

“The cave was discovered in December 1994 by three French cavers, Jean-Marie Chauvet, Éliette Brunel Deschamps and Christian Hillaire. Following an air current coming from the cliff, they dug and crawled their way into the cave, which had been sealed tight for some 20,000 years. After finally making their way to an enormous chamber, Ms. Deschamps held up her lamp and, seeing an image of a mammoth, cried out, “They were here,” a glorious moment of discovery that closed the distance between our lost human past and our present.”

How cool is that?

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The movie possesses so much depth and range of emotion and the hidden tension of discovery, that it nearly stands alone as an experience of brotherliness linking ourselves with our incredibly ancient past. I have to suspect this is an instant classic, no matter how uneven it might seem at its start. The punch is delivered as we advance, revealing all the incredible wonders this cave has to offer. Bear skulls, complete vertebrae of gigantic land animals, pictures of the rhinos, the Ibex, horses, lions, bison adorn these walls in graduated impact as the camera gets released later to fully explore.

Anyway – I guess you can tell I enjoyed the film!  😉

And here is where we return to the premise of this post. That Herzog has created a masterpiece I have little doubt. When you feel literally blessed and extremely fortunate to view a film, then these emotions tell us something very important: either we are nuts, or else this guy put together a magnificent piece of pure genius. I naturally choose the latter. As I said, the uneven beginning to the film requires a bit of patience. There is information coming in rather placid and somewhat pedantic ways, although there are indeed gorgeous pictures of the paintings and the access to them at the same time. The geological wonders alone are fantastic and impossible. Calcite galore, stalactites and stalagmites adorn the view – some literally impacting the paintings as well as such things as footprints of a bear as well as that of a child. The protective measures taken by the French is also droned on about at length – but – and here’s the thing:

It all makes sense and comes together incredibly effectively as we witness what a treasure this is. The drama of this discovery is served well by Herzog and the ineffable music streaming from the cello of the master cellist, Ernst Reijseger, which takes on an increasing urgency and even pathos as we discover this enormously ancient past of all of ours. The musical work of Reijseger is of a quality I have rarely seen before – it is clearly evocative and it seems utterly spontaneous as it impacts us concurrently with the images we behold and the verbalized statements from the long list of exceptional people. It courses through the film in a sensuous, even mysteriously sinewy way – somehow absolutely perfectly emotive and even responsible as we peer into who we once were. It is somehow totally fitting that we should answer the very height of their art with some of our own.

There is humanity here and a respect for our past. I mean a deep respect for our past. Oddities galore – it appears Neanderthal man was around as well as our own Homo Sapiens species evolved in the same neighborhood. Entire skeletons of the animals of the day appear, close up and personal.

I’m including aspect of Herzog and Reijseger’s traveling “Cine-Concert” which is entitled “Requiem For A Dying Planet” which toured to rave reviews globally. The reason I include this apparently non-related and somewhat disjointed piece is merely to illustrate the level of artistic genius this group operates at. Obviously, their goals are as high in terms of the stewardship of our planet – a message it would seem we could use ample measure of. I give you the “Requiem”: