The Lonely Planet at Terre Blanche

The Lonely Planet at Terre Blanche 1

Terre Blanche Golf Resort describes itself as a “Land of Inspiration in Provence.” In my mind, a reasonable claim. Even though it’s the French equivalent of Saint Andrews, I’m not only here for the golf. The club house and elegant surroundings are crammed with stylish contemporary sculpture. And big names too. However, despite the best efforts of the helpful staff, nobody can tell me the provenance of something that really captures my attention: a huge silver-steel-shiney orb sitting among some stunted oak trees that line the path down to the first tee. It is entirely out of place and all the more intriguing as a result.

The Lonely Planet at Terre Blanche 2

The object’s surface is covered with randomly spaced indentations of varying size; they are clearly meant to recall craters. It reminds of the first time I used a high powered telescope to look at the moon the surface of which is entirely covered by evidence of asteroid impacts. I read once about the “impact events” that have affected planet earth. Apparently, every 500,000 years an asteroid of more than 1km collides with earth; one of over 10 kilometres hits us every 20 million years (and extinguishes most life forms.) The reason that these craters are less obvious on earth as compared with the moon and other planets is simply because of water; many hit the sea and the signs of those that have had a terrestrial impact are slowly ground down by atmospheric erosion and plant life.

Fascinated, I wander around this lonely planet. I lay on a hand; the brilliant surface is smooth and very cold. On touching it with the tip of my nose, I detect a faint but definite metallic odour. I tap this beautiful sphere with my knuckles and am treated to a deep and distant resonant clang; it’s not a forest noise. Finding this sculpture here, completely discordant with it’s earthly surroundings, augments the other-worldly feel it gives out. Form and placement together result in an immensely satisfying piece of work. Does anyone know whose work it is? Or did it fall from the sky?

Damien Hirst’s take on Human Anatomy

I stroll through the Norwich University of the Arts. A massive skinned, dissected figure outside the St George’s building stops me in my tracks. Bells from my anatomist past are jangling. Is this now the Norwich School of Medicine?

Damien Hirst’s take on Human Anatomy

Damien Hirst “Hymn” Bronze, 2000

I ask at the reception desk what this is about. “Oh!” the nice lady replies with just a hint of condescension, “That’s Damien Hirst!” Ah!…. Silly me! I should have known. I learn that, unsurprisingly, the 7 metre high Hymn (play-on-words “Him”) caused controversy when first displayed. Is it “art”? (Pushing the boundaries etc. Same old!) Furthermore, it was claimed to be a direct copy of a 25cm educational toy; this resulted in a quiet financial settlement. Nevertheless, Hirst came out of it well by selling the sculpture to Charles Saatchi for £1 million.

Armed with this information I go back out onto the street and regard Hymn anew. With this sculpture, Hirst has within a few minutes taken me from curious to a bit embarrassed and then to intrigued. On knowing the provenance of Hymn, I then find myself admiring both the work and the concept. I ask myself if progressing through these mental steps is precisely what Hirst intended the viewer’s experience to involve. Whatever, he plays on our squeamish fascination for things scientific, forensic, visceral and medical and does so on a monumental and intimidating scale. This confrontation makes unavoidable the realisation that “Those are my insides!”

My last thought is: yes, Damien Hirst does it again whatever “it” may be. But then I’m sure that he couldn’t possibly give a damn what I think.

The Lady of Lake Wakatipu

This is a guest post by Bonnie Golightly.

The Lady of Lake Wakatipu 1

I am near Queenstown, New Zealand. An American golfer admires the view of the magnificent Lake Wakatipu. “I’m just all outa wows!” he says. The golf course is truly lakeside. It is very pretty. My game does not do the setting justice. By the fifth green, I am ready to give up. Out of the corner of my eye, I notice that what I first thought was a weather-beaten tree stump is something much more interesting.

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I am drawn towards it and….. my O my…. how my heart thumps. Big metallic sister stuff!

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Mark Hill‘s 2015 untitled sculpture serves up a wonderful surprise in this setting. The feminine form is tall, imposing, defiant and very beautiful. I love her. In elegant gown and with hair streaming behind her, she stares out over the lake daring the elements to throw their worst at her.

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What I admire most is Hill’s technical mastery of his materials. He has used corten and stainless steels to create an astonishing impression of soft leather with bright hand-stitched piping. How he has designed, cut and put together those wind-blown locks is beyond me. This is a work of industry and passion.

I spend some minutes walking around the Lady of Lake Wakatipu. I even pose a question or two. Does she ever get cold? Does she get lonely? She ignores me of course. But encountering such a resilient woman lifts my spirits. With renewed determination, I make my way to the sixth tee.