We’d picked up a little brochure of local walks from Tourist Information in St-Florent, and this one was just up the road from the spectacular black and white church of San Michele de Murato. It was listed as Balade dans le Nebbiu (stroll in the fog). The Nebbio is the region of Corsica inland from St-Florent, a hinterland enclosed by an amphitheatre of hills, that takes its name from the heavy mists that descend in winter. Today was not sunny, but thankfully we were not enveloped in clouds. Continue reading “A Walk In The Nebbio”
Stuck inside my quarantine cell on a sunny April evening, sheltering from the coronavirus epidemic outside on the streets, sunlight and birdsong streaming through the open window, remembering how freedom of movement was once taken for granted, and how quickly we’ve adapted to our new limited horizons. I tell myself it won’t go on forever and escape into daydreams and memories of last year in Corsica. This was our first view of the church of San Michele just outside the village of Murato. Continue reading “San Michele De Murato”
Earlier last year we were in Corsica again, this time staying in St-Florent. Our house was on the edge of the town, with a view eastward across a field to the ancient cathedral and the hills and mountains beyond. This was the heart of the Roman town, before the Genoese new town developed on the coast. Continue reading “From Saint-Florent”
Oil paintings by Marcel Gatteaux in the window of the Rowley Gallery throughout January, shining their warm colourful light on a cold grey Kensington Church Street. A winter window of summer sun. Continue reading “A Winter Window Of Summer Sun”
A small collection of work by Chris Kenny in the window of The Rowley Gallery
Paintings in gouache and ink produced in Provence over the last five summers, each initiated by the biography of a saint, extending the Instagram @twigsaints project.
Constructions employing found materials – cut hardback book covers and twigs – that act as dynamic three-dimensional drawings provoking a range of associations without adhering to any explicit subject.
Chris Kenny has work in many collections including the British Museum, the V&A and the Museum of London. He is currently exhibiting at Mucem in Marseille. Continue reading “Scenes From The Lives Of The Saints”
This little painting hung on the wall of our house in Calvi. It looked like the campanile of one of the churches we visited yesterday, perhaps in Calenzana or maybe Montemaggiore.
The Genoese… besides tending their gardens, they built churches, so many over the centuries… that the region was called ‘holy Balagne’; today their bell towers charmingly punctuate the landscape like a series of mild exclamation marks.
But when I took it down I found Église d’Avapessa handwritten on the back. Continue reading “Le Chêne Vert”
For one week in May this was our bedroom window, with its view of the Golfe de Calvi and the mountains beyond, with Monte Grosso 1,938 metres and Monte Padro 2,393 metres, two of the highest in Corsica. Every morning their silhouette was gradually illuminated as the sun rose behind them, projecting fast-moving cloud shadows onto their faces, with every morning a different view. Continue reading “La Balagne”
I was just told about this film. I’d not seen it before. Why had I never heard about it? It is wonderful. It was made in 2000 but it still feels fresh and full of magic.
Landscape sculptor Andy Goldsworthy is renowned throughout the world for his work in ice, stone, leaves, wood. His own remarkable still photographs are Goldsworthy’s way of talking about his often ephemeral works, of fixing them in time… Now with this deeply moving film, shot in four countries and across four seasons, and the first major film he has allowed to be made, the elusive element of time adheres to his sculpture.
Director Thomas Riedelsheimer worked with Andy Goldsworthy for over a year to shoot this film. What Riedelsheimer found was a profound sense of breathless discovery and uncertainty in Goldsworthy’s work, in contrast to the stability of conventional sculpture. There is risk in everything that Goldsworthy does. He takes his fragile work – and it can be as fragile in stone as in ice or twigs – right to the edge of its collapse, a very beautiful balance and a very dramatic edge within the film. The film captures the essential unpredictability of working with rivers and with tides, feels into a sense of liquidity in stone, travels with Goldsworthy underneath the skin of the earth and reveals colour and energy flowing through all things.
We were staying at the top of the hill, behind the beach and the hotels, looking east over the bay to the mountains beyond. North of us was the Citadel but it only came into view as we descended the zigzag path back down into town. It seemed like a good place to begin exploring. Continue reading “One Day In Calvi”
The entrance to the Pierre Bonnard exhibition at Tate Modern is a portal through a giant detail reproduction taken from his painting The Garden of 1936. It’s perhaps his best painting. It’s the one that most draws me in, most like a garden itself with it’s abstract disposition of marks and colours, it reminds me of paintings by Patrick Heron and Gillian Ayres. And there are other paintings here that bring to mind Paul Cézanne, Henri Matisse, Howard Hodgkin, David Hockney. But before all of that, we’re straightaway into a red gallery with ‘hot’ paintings of Bonnard’s mistress, full-frontal nudes and a post-coital bedroom scene. The gardening comes later. Continue reading “The Colour Of Memory”