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Posts Tagged ‘art’

Vernal Pool

In Uncategorized on February 27, 2014 at 1:42 pm

IMG_1772I am participating in Vernal Pool, an art project about place + precipitation – “snow gathering as artistic practice”. The project is produced by artist Karen Abel with Jessica Marion Barr, and will be exhibited from April 24-27, 2014, at the Gladstone Hotel in Toronto as part of Grow Op: Exploring Landscape + Place, curated by landscape architect Victoria Taylor. Very up my alley.

I approached my participation as an extension of my research for an upcoming installation at Rodman Hall Art Centre as part of the exhibition, The Source: Rethinking Water Through Contemporary Art. My work for that exhibition is centred on the Twelve Mile Creek and is part of a body of work based on the North Niagara Watershed (see Fall and Distance of Their Mouths). The work is  titled, Streaming Twelve, although at the present moment, due to total strike-outs with grants, I am not sure whether the installation will include actual streaming video or not!

On February 20, I headed off with my dog, Rupert, to gather snow before the big melt that was predicted to start later that day. (This proved to be overstated.) I gathered snow in a used Mason jar from which I had previously eaten delicious pears preserved by DeVries Farm and sold at the St. Catharines Farmers’ Market. Given that Vernal Pool is about place, the jar was an important choice for me. I have been a Serious Locavore for many years and have addressed concerns about our precious Niagara fruit farming heritage in The Guardian of Niagara: The Soft Fruit Industry and in how I live.

IMG_1759IMG_1765IMG_1761Weir 5 is at the foot of the bank behind Rodman Hall and the Walker Botanical Garden. Ontario Power Generation (OPG) owns the creek bed and controls water flow in that area of the Twelve. I photographed my mason jar of snow below two of the OPG signs, warning the public of dangerous water. I framed the shots to include the tags as they speak to public space. Take a look at the difference in the water flow between the above centre and right photos, the sites of which are mere meters apart.

IMG_1777I will get the jar of melted snow to Vernal Pool in time for it to join other samples from across Canada and beyond. In the meantime, it waits in my back mudroom where it melts and refreezes dependent on the temperature, ever in flow.

As a gathering practice, Vernal Pool also resonated for me with a project I did in the Walker Botanical Garden at Rodman Hall in 2002 when I placed 46 stainless steel bowls throughout the garden and documented their contents over a year in 433 photos. (I also shot some video and was sure I had a snow section but can’t find it.)

Now, here comes the terribly important diptych of Great Importance – Jar of Snow By Twelve and Dog with Jar of Snow By Twelve.



Return to The Main Event – Rennie Park

In Uncategorized on April 15, 2013 at 9:52 pm

It’s been ages since I have blogged at all and since I have worked on The Main Event (fond interim name in my electronic folders for the project for which I received an OAC research grant in 2012). This is happily due to other art opportunities (such as the terrific Niagara Dance Company commission, Dissolve, and major family events. I have recently returned to The Main Event and I am sorry to say that the driver is a production grant deadline. Maybe I should not say sorry and frame grant deadlines as helpful.

I have changed direction. This is partly because I am so sick of hearing about the War of 1812 I have lost any interest in addressing war resisters to same. But more positively, it is mostly because the project has evolved to embrace my general direction, which is to dissolve boundaries between my artistic and change agent practises.  (My professional change agent practice, aka consultant business, is non-existent at present and my volunteer activities have increased significantly, beginning with Idle No More in late 2012.) While I have a long history of community work in varied capacities – serving as administrator of arts service organizations nationally, provincially and regionally, catalyzing community arts practice in St. Catharines during my years with the dearly-departed St. Catharines and Area Arts Council, and creating my own art work based in community – I have only once worked in what I consider to be a “pure” community art practice and did not consider it successful (working with RAFT, the local youth shelter in 2005). I do not consider that this work will be “pure” community art practice either, but it will be developed in partnership with community groups and issues with which I identify. The performance remains to be one in which the audience will move from site to site on a bus which will house a video projection system and I still intend that it take place over a series of Friday and Saturday summer nights in 2014. It has evolved to sites only within the municipality of the City of St. Catharines (since I am no longer tied to 1812 War Resister sites and it will lessen bus travel time) which are selected primarily on the basis of their identification with the community groups.

Never Again

Rennie Park Peace Garden

Rennie Park Peace Garden

First up in a partnership with Project Ploughshares Niagara, a tiny and very grassroots peace organization with which I worked on the Art of Peace Festival in my capacity as Executive Director of St. Catharines and Area Arts Council. I have of course worked with peace issues in my work before, with Song For A Blue Moon, a 2004 performance which took 6 years to create encompassing my 3 years of homelessness.

For many years, PPN has presented a Hiroshima and Nagasaki Lantern Service at Rennie Park in Port Dalhousie and is responsible with other organizations for the peace focus of the park (in pleasant St. Catharines coexistence with the rowing focus although I notice the City website makes no mention of the Peace Garden, only the rowing content). This event will be the starting point for the section of the performance at Rennie Park.

Here are a photos of the Lantern Service kindly provided by Project Ploughshares Niagara:

Recently, I scouted the location. The part of the park used by PPN for the Lantern Service is in the area of their Peace Garden, close to a small canal beside Martindale Pond upon which they float the lanterns. I expect to limit the performance to that part dependent on whether or not the City will allow our small bus access to the road leading into that area (because it will house the projector). I eyed an attractive mound with trees close to the parking lot as a possible location if absolutely required as a back-up, but we would need to walk into the the Peace Garden.

Site tour

In Uncategorized on August 15, 2012 at 10:07 pm

Today I scouted potential performance and related-content sites. I recently had the excellent good fortune to be supported with a grant from the Ontario Arts Council’s Integrated Arts program to undertake the research for an as-yet untitled performance / installation I plan on producing in 2014. (I need a simpler way to name the art work than “performance / installation” but there will be both performances and installations.) The audience will be on a bus driven from site to site and at each there will be a different performance and/or installation featuring video projection, lights, spoken text, dance, music, TDB. I expect video projection to be a significant component of the work and the research grant includes consultation with Nigel Scott who will work with me on developing the projection logistics.

Although the ideas have already progressed from where they were when I prepared the funding application last March (it takes 4 months for a decision), today I toured sites based on that starting point, which was the series of plaques placed this year by the 3 Peace Churches, which were exempted from military service in the War of 1812 because of religious belief. Don Alexander was my most excellent tour guide and Don has provided me with many research materials which I have only begun to explore. Don is an Attender at Quaker meeting, a filmmaker amongst many other things and a friend.

Quaker plaque in the Peace Garden at Rennie Park, Port Dalhousie in St. Catharines
photo: Don Alexander

My interest in the 1812 War Resisters began almost a year ago when I first heard of them in the context of discussions about the Art of Peace Festival, a community festival in which I was heavily engaged from 2002-2008, mostly as Executive Director of the dearly-departed St. Catharines and Area Arts Council. I attended a meeting of the 1812 Peace Committee (see related links here and here) formed of the three historical Peace Churches –  the Religious Society of Friends (Quakers), Mennonites and Brethren in Christ (Tunkers).  It stunned me that I had never heard of 1812 War Resisters before, given that I was born and grew up in St. Catharines and have lived in the Niagara region for most of my life, drenched in 1812 history.  I already had community connections within the Mennonite and particularly Quaker communities and familiarity with their histories of pacifism and social justice. (The third part of my 2004 performance, Song For A Blue Moon, was richly informed by collaborations in both those communities, particularly the video footage obtained via the Christian Peacemaker Team.)

Quaker plaque at Port Colborne Historical and Marine Museum as well as millstone from Zavitz Mill on Gravelly Bay, Lake Erie
photo: Don Alexander

I visited the Mennonite plaque at the First Mennonite Church in Vineland (very close to where I used to live in Jordan) last February or March in preparation for writing the grant application and invited the participation of that congregation (which is not yet resolved).  I want to work with the community of each site in ways which will necessarily be negotiated as we move along. I have no intention of making “plonk art”; work plonked down in a site used only as inspiration or backdrop. My values of art-making place a high value on making meaning and it follows that meaning must be made in dialogue with the communities where the performance/installation will take place. However, I am not engaging in a pure community art practice whereby the work is entirely co-created, either. And I have so far invited one other artist to contribute her own work – so in other words, all is floating in the mid-stream at the moment (as it should be).

I believe that the re-negotiation of the relationship between aboriginal and non-aboriginal communities in Canada is of the utmost importance in our times so it is important to me that the work include aboriginal perspectives. Certainly the War of 1812 presents rich material, not least of which is the strange and long history of how native and non-native communities have approached the recognition of Tecumseh (featuring grave-robbing on the white side, of course.) Last March I attended a fantastic lecture by Alan Corbiere, Indigenous Perspectives on the War of 1812,  sponsored by various groups including the Tecumseh Centre for Aboriginal Research and Education of Brock University and held at Niagara Artists’ Centre. He was kind enough to suggest some research materials.

At the time of my application, I knew the work was not specifically about 1812 war resisters, rather that they were an anchor for an exploration of notions of peace and conflict, community and nationhood. Recently, the notion of communities of resistance seemed to be my frame but that may change too. I am currently engaged in reading a number of War of 1812 history books focused on either the Peace Church or aboriginal communities (the latter having been written by non-native scholars) but I know I have zero interest in portraying historical events. I have never been interested in narrative theatre at any point during my many years of art-making.

Today’s trip presented at least one very clear, visual and site-based direction to me and I will soon begin the process of requesting permission to use the site and therefore engage with its community in the development of content. At this site, two remarkable old maple trees called out loudly to me! They remind me of Pelham’s Comfort Maple, where in 2003 I shot video of dance Yvonne Ng in the tree, for the work, earth’s flesh.

not related to the work at all but we passed this tree of shoes and I couldn’t help wondering about its story!
photo: Don Alexander

one of the old maple trees at a site I hope to use
photo: Don Alexander

Queen St. West history

In Uncategorized on January 26, 2011 at 8:40 pm

Here’s my input to all the Queen St. West history.

Peter Pan wait staff Hilary & I circa 1978

It takes nothing away from the magnificence of The Cameron to remember what everyone seems to forget when writing about the history of Queen  St. West – both The Cameron and the music scene built on what was  already established by other artists in the 70s. I lived over Jacob’s Hardware (beside The Cameron) from 1975-1988 and most of the “new  dance” community as well as the infant modern dance Dancemakers  rehearsed there in the mid-70s. General Idea’s Art  Metropole moved from Yonge St. to Richmond and Duncan in the mid-70s  and CCMC opened The Music Gallery on St. Patrick St. just north of  Queen. The Centre for Experimental Art and Communications (CEAC) was on Duncan and the independent film organization, The Funnel, was in  its basement. Lots of artists lived in the lofts along Queen St. W. around Spadina (protected by provincial rent control) including John Scott, Peter McCallum,  Randy & Bernicci and many others. Before The Cameron we drank at The Beverley and occasionally The Rex Hotel or Horseshoe (speaking personally of course).  The Cabana Room of The Spadina Hotel was the original artists’ bar of area.

The restaurants were key to the scene and provided employment for visual artists, dancers and musicians. Peter Pan opened in the fall of 1976 and was the game-changer to hipsterism. General Idea’s Jorge  Zontal and myself were amongst the first wait staff. Le Select opened  up before The Peter Pan and was a hangout for theatre people including  Montreal emigrés from Bill 101 who opened the Soho Theatre on  the second floor in the building that later became The Rivoli. Around this time, the hippie Beggar’s Banquet changed to The Parrot and its  owners and chefs were the soon-to-be-superchefs Greg Couilliard and  Andrew Milne-Allen. The Clichettes are other dancers formed most of the wait staff.

But don’t take my word for it – see The Toronto Star article, “A new village lures the creative crowd”, Saturday, June 125, 1977 by Bruce Kirkland.

Artists' Survey: The Greenbelt

In Uncategorized on March 10, 2010 at 8:52 pm

I am very pleased to have The Guardian of Niagara: The Great Lakes and The Guardian of Niagara: The Soft Fruit Industry included in the exhibition, Artist  Survey: The Greenbelt.  The exhibition is part of the Greenbelt Foundation’s 5th anniversary celebrations. I responded to the Call to Artists by Gallery 1313 in Parkdale (Toronto) in January, completely thrilled there was a suitable opportunity for the Guardian to appear in public and even more thrilled when she was accepted. The exhibition was curated by Gallery 1313 Director Phil Anderson and Harbourfront visual art curator Patrick Macauley and the other artists are Brad Emsley, Daniel Durocher, Irene Cymbal, Jeremy Drummond, Martha Eleen, Michael Davey and Delwyn Higgens, Steve White, Vid Inglevics and Warren Quigley. It showed at Gallery 1313 from February 17 – 28. There was a panel discussion with Christopher Hume, Diane White and Maralynn Cherry moderated by Russell Smith. I was not in town that day and not about to make an extra trip to Toronto so I missed it. I would have been curious to see Russell Smith, whose men’s fashion column in The Globe and Mail has given me many smiles.

 The exhibition was at the Royal Ontario Museum for one day, for the Greenbelt Foundation’s Friends of the Greenbelt  awards celebration, given to farmers including St. Catharines’ Whitty Farms. Presenters included  two ex-premiers and Sarah Harmer.  The sour note was that the ROM refused entry to Warren Quigley’s sculpture of wooden spheres (potential biological threat!) and Steve White’s metal sculpture was reported to not fit into the elevator (very hard to believe actually). The artist drove 5 hours to the opening and was understandably upset. Lunch was amazing deluxe locavore food and excellent Cave Springs and Henry of Pelham wine at the free bar. I do not know the names of the chefs. Drinking at lunch is not usually a good idea for me but I indulged nonetheless and survived to tell the tale. I enjoyed so much the experience of seeing a lot of people looking at my work.

At the Gallery 1313 opening. Photo courtesy Greenbelt Foundation.

I was delighted with the whole affair as I am increasingly leaning towards wanting to work with food security issues and the exhibition was a perfect combination of interests. I would love to leave arts management and be part of a team in Niagara in some kind of organization working with food and anti-poverty issues, a Foodshare Niagara type thing.

 On my way out and back to the office, I realized I could take a quick nip around the ROM for free. I was so happy to see the hundreds of children there on school trips. By coincidence the reception was on the same floor as the bird exhibit. I spent time there while researching for Part 4 of Song For A Blue Moon, probably in 2004. The ROM is a great place and I was happy to see my work there if only for one day.

 The exhibition has since travelled to Ajax and at the time of writing is in Hamilton. No Niagara venue could be found – the show was a pretty last minute affair for the Foundation. The Guardian had another outing in February as Soft Fruit Industry hung in the clients’ show at Toronto Image Works. Nice, but of course it means more when it’s in a curated show. Now, if only I could sell her! How to sell work without a dealer? The Guardian was always intended to hang in a public place like the Region of Niagara headquarters, for example.

P.S. – Stop the presses – the show is coming to St. Catharines after all.

Want and Value

In Uncategorized on November 10, 2009 at 11:44 am

Poster5Artists often have experiences of diminishment in a society that does not value what we do.  I take it as a given that many people in the arts do not buy into the dominant culture’s reductivist view that value is based on money, however, it is next to impossible to live in this culture and not be affected by that worldview. That worldview makes money the organizing factor of our thoughts and interactions with the world. It can make money the only way to understand the world. And it doesn’t matter if you are materialistic or have taken a vow of poverty – they are ends of the same spectrum. As my teacher Ken McLeod says, if you take a train and turn it around in the opposite direction, it is still running on the same track.

I was a nascent artist in the time of conceptual art when the rage was to not make objects that could be sold. At one time in my early career, I was “hot”, and I experienced that my work had value because I received lots of invitations to show my work (for which I would receive payment) and my work was written about. My video work was represented by Art Metrople (back in the mists of time) and was sold to institutions including The National Gallery of Canada. But since then, my work has had no monetary value.

In the past couple of years, I have made two large photographs, valued at $1,000, which I have been unable to sell*. I of course have made all kinds of installations in my life, none of which have sold or are in collections. I do not have a dealer and am therefore an artist without value in the art world/art market. Intermediaries between artists and the public – dealers, curators, critics and other power brokers – determine what – wait, let’s call a spade a spade – who, has value. Value is created by the 3 Cs; curators, collectors and critics.Poster1

In keeping with my identity as an artist of no value, I have posted flyers bearing the transcriptions of the audio files from the summer’s three Wants. (My logic being that posters, like my work, have no value – as opposed to fine art prints, for example.) Postering is illegal in this nice, clean city and I have posted neatly on the designated kiosks. Each flyer is titled “WHAT THE PEOPLE OF ST. CATHARINES WANT” followed by a numeral in the series (there are six). They are printed on vellum which I chose both because I expect it to bear up to weather better than plain bond paper and as a marker of the notion of value, being different and more expensive than plain bond.  They bear no identifying mark, in keeping with my value-less identity (since artist signatures are part of the notion of market and value).

 * Recently, I experienced the shock of these photographs being rejected for exhibition in my workplace. My workplace isGrLakesjpeg the fantastic Centre for Social Innovation and its programs and tenants are all about social action. Imagine my surprise when the Guardian photographs, about Great Lakes pollution and land use, were unconsidered inappropriate.  The most literal art I think I’ve ever made, complete with word balloons, was somehow still unread in terms of its content to the selection committee of laypeople. Disappointments of this sort are what feed feelings of worthlessness and the personal work of not attaching to them.

Want – 2

In Uncategorized on August 9, 2009 at 9:35 pm

The second instalment of Want, a community-based interactive installation/performance took place on St. Paul St. in St. Catharines as part of Art City on August 7 from 6:00 – 9:00. I will post text later and here are some photos. For more information, see Want – 1.DSC00293DSC00297DSC00306

SCAAC intern Alana Leprich exits from recording her want.

SCAAC intern Alana Leprich exits from recording her want.

The Wheels on the Bus – Mila

In Uncategorized on August 5, 2009 at 9:26 pm

I was planting feverishly in a mild panic that the garden was underplanted and not good enough when she came upon me and dropped down on her knees. She liked it very much. Her name is Mila and she came to Canada from Russia fourteen years ago. She talked of how she is between the two places. She asked me why some seeds and plants don’t grow and when I said that it is often from not watering enough, she corrected me that, no, the reason was not enough love. She talked about having roots damaged and her words swerved between speaking of plants and herself. She kissed my hand which was caked was soil and asked me if she could embrace me, “human to human”, which she did twice. Although she reached her arms passionately towards me, she never stepped over the boundary of the garden’s curb, staying on the sidewalk, recognizing the garden as sacred space or the curb as the divide between stage and audience. Of course she was very drunk. She was beautiful. When she left I wept as I dug in the last morning glory. Is this not the only reason there is to make art – to move someone? to make the experience of walking down the street vivid?

Feelings are Facts – 1

In Uncategorized on August 2, 2009 at 12:43 pm

Last month I finally purchased Yvonne Rainer’s auto-biography, Feelings Are Facts: a life, part of the MIT Writing Art Press series and published in 2006, having been reminded to do so by its reference in the essay Irene Loughlin wrote about my work for the exhibition I had in March at Hamilton Artists’ Inc.  (if you open the link, scroll down).

Studies of Yvonne Rainer and the Judson Dance Theatre of New York were the single most influential part of my university education, which took place at York University in the very early days of the Dance Major program there, which was the first in Canada. (The fact that it was the last art form to be embraced by academia reflects the status of the art form; while my relationship with it has waxed and waned over the years, its underdog status has always been a selling point for me, which I understand as our culture’s fear of our bodies within the context of the Cartesian mind/body split.) A young Selma Odom was my prof – she very recently retired and I regretted not getting to her farewell dinner.

I have read precious little for many years with the exception of Buddhist books. It is an activity that I have allowed to fall away in the choices one makes while cramming as much as possible into too little time. I have always been cranky about the degree to which critical theory overtook the practice of art, however, I read theory during the three years it took to write the essay, Asserting Our Bodies, for Caught in the Act: an anthology of performance art by Canadian women, published in 2004.

 I read a little of the Yvonne Rainer book while visiting my Sis, Margaret, in Finn Slough  after performing in the 30th anniversary of Walter Phillips Gallery at Banff Centre August 2008.  I am only in Chapter 5 at the moment, still in her adolescence. So far, I feel vaguely depressed each time I read, as it reminds me of my own adolescence. Not that the details match by any means, but the general sense of not belonging, that is the experience of many artists. I remember Margaret talking about it when we were young as “being from Mars”.

Yvonne Rainer suffered greatly as a child but came from a family that might appear “interesting” inasmuch as its Italian anarchist politics were not mainstream. I just read with enjoyment her description of the movie theatre her father took her to as a child in the basement of San Francisco’s Palace of the Legion of Honor, where she saw Dreyer’s The Passion of Joan of Arc at the age of nine. I enjoyed, and benefited greatly, from my own parents’ love of the arts and I have learned to understand that it is not necessarily usual that a working class family made the arts so much a part of life.

Here are some of my own childhood and adolescent memories: a nascent National Ballet of Canada at The Palace Theatre on St. Paul St. in St. Catharines. We regularly went to The O’Keefe Centre in Toronto and back then you could whip up in an hour and ten minutes on a barely-travelled QEW. Highlights there at the time were Béjart’s Sacre du Printemps and Peter Brooks Midsummer Night’s Dream. Here in St. Catharines, in the early days of the Brock theatre program, I was transfixed by Anouilh’s Antigone and I still have my hand-written copy of her monologue, “I spit on your happiness! I spit on your idea of life – that life that must go on, come what may. You are all like dogs that lick everything they smell. You with your promise of a humdrum happiness – provided a person doesn’t ask too much of life. I want everything of life, I do; and I want it now!”. Ah, yes, youth. At Brock I remember also Toronto Dance Theatre’s performance of David Earle’s Atlantis (and Susan Macpherson’s naked breasts if I remember rightly.) We went to Stratford every summer but nothing stands out in my mind. Another O’Keefe memory is of my father wangling us into a reception honouring Margot Fonteyn and being introduced to her along with my best friend at the time, Janice Alton (Kate Alton’s mother). It was not my father’s habit to crash receptions and it was a very loving act. Janice was beside herself with joy and I wasn’t far behind.

Regardless of having regaled the reader with memories, I cannot imagine going through the work that Yvonne Rainer did to write her autobiography.

The Wheels on the Bus – 2

In Uncategorized on July 26, 2009 at 1:34 pm
Photo: Alison Chitty

Photo: Alison Chitty

July 26, 2009
I planted today. The soil needed a couple of days to settle and there has been tons of rain, but the main reason I wanted to plant today is because I like to plant by the moon whenever possible and today and tomorrow are “best days” for annuals. I planted the perennials too though as there are no more “best days” for them for a while. I had to insert small, black nails into the tires, particularly for the Black-Eyed Susan vine. I planted from 8:00 – 11:00 a.m. and will return later. I have to park illegally while I am on site and in any case, I prefer being there early in the day. It’s always interesting to be in a city early before “normal” life kicks in. I did the previous planting at 6:00 a.m. I made 5 trips this morning, mostly because I am using only one (although large) watering can to water the plants in.

Here, by the way, is copy from the artist’s garden sign. When it is in, I will post a photo. The sign has all the logos of the partners and funders. The garden is a project of St. Catharines and Area Arts Council and City of St. Catharines with support from St. Catharines Transit.

Old tires are usually associated with dumping grounds – this garden recycles bus tires as plant trellises. Situated by the bus terminal, the garden celebrates public transit as a key strategy of “green” and sustainable communities. To further “green” downtown, the garden is planted with plants that are attractive to birds and butterflies. The title of course references the song familiar to toddlers everywhere! I hope that those driving by on a local or inter-city bus pulling out of the nearby terminal may notice this garden hiccup in the urban landscape and smile.
–  Elizabeth Chitty

July 26 AGPlant Material
Alyssum; Asclepias incarnate ‘Ice Ballet’; A. tuberosa – Butterfly Weed; Buddleia davidii ‘Pink Delight’ – Butterfly Bush; Coreopsis verticillata ‘Moonbeam’ & ‘Zagreb’ – Threadleaf Tickseed; Echinacea purpurea ‘Primadonna White’ & ‘Prairie Splendour’; Heliopsis helianthoides ‘Summer Sun’ – Orange Sunflower; Hibiscus moscheutos ‘Southern Belle Mix’- Rose Mallow; Ipomoea  tricolour “Heavenly Blue” & “Split Personality” -Morning Glory; I. coccinea – Cardinalis Morning Glory; Monarda didyma ‘Raspberry Wine’ – Bee Balm; Rudbeckia fulgida  ‘Goldsturm’- Black-Eyed Susan; Thunbergia alata ‘African Sunset’- Black-Eyed Susan Vine and Trapaelum majus – ‘Empress of India’ & Tall Mixture – Nasturtium.

Photo: Alison Chitty

Photo: Alison Chitty

Returned around 6:00 under a suddenly black sky. I hadn’t watered in the last batch of alyssum (having run out of water) and it was astounding how much they managed to deteriorate in 7 hours of sunlight even though the rootballs were very wet. Planted more alyssum and one last straggling Morning Glory from the ones I sowed at home and my sister took more photos. Most is done but not all.

My Blundstone's which are about 20 years old, have seen 4 gardens (including this one), worked at Niagara Nurseries and are really about shot. I take Size 7.

My Blundstone's which are about 20 years old, have seen 4 gardens (including this one), worked at Niagara Nurseries and are really about shot. I take Size 7.