Creating and arranging a collection is a passion known to many, not just gardeners. Even the most hard line minimalist collects their empty spaces as if empty spaces were on the endangered list; yes? Gardeners collect seeds, tools, hellebore cultivars, rocks, birdfeeders, trees-you get the idea. I have amassed a collection of books in the past 25 years that must number over a thousand volumes by now. It is a long standing coherent collection documenting my adventures as a gardener. Putting together and arranging a coherent collection for my shop is a big part of being able to advise people about how to design their gardens.
Every year’s collection for Detroit Garden Works is different. It might be based on one particular object whose size, surface, shape or style or aura proves to be a magnet for Rob’s attention. Alternately, his basis for a collection might be triggered by a place he has visited or an idea that’s surfacing. We made a conscious effort to shop the US for antique, vintage and new things a few years ago. Thus the collection always has a strong American element. An organizing metaphor-we like these. His point of view about what is beautiful is a catalyst for a constellation of pots, sculpture, prints, garden furnishings, fountains-any object which might evoke a little magic for a garden.
These clay cylinders are all about what Rob calls a chamaeleon surface. In addition to their gritty texture, the color changes given the light. After last night’s rain, the color was saturated and rich-different than their dry color. Mineral surfaces exploring color and texture such as this will be friendly to no end of different kinds of plants. Pots of simple shapes makes the color and texture the most important element. These pots will take on the atmosphere of its placement, and plants, and play a serious supporting role in big visual scheme of things.
These rectangles made from thin slabs of volcanic rock are close in color, shape and size to these oval galvanized tubs. Their differences give the eye a workout. I am seeing his idea become tangible. A collection of objects of simple and varied shapes distinguished by their interesting surfaces are what I would call a visual variation on a theme.
A pair of very old and fine American urns and pedestals dating from the early twentieth century focuses my attention on their shape and surface-and away from a historical label. In another context, I would see them as very traditional American garden ornament. In Rob’s context, kept company by a family I would not have imagined, I am looking at them in a different way. The impossibly wide and low shape of the urns, the simple swirls indented in the pedestals-I am thinking about the universality of beautiful objects for gardens-never mind their age, period, or label.
Volcanic rock in its natural state-this I am used to seeing. Volcanic rock slices are a product of modern technology. I have not seen this before. The intersection of ancient materials transformed by modern technology-Rob has gotten my interest. This I admire about him so much; he posits lots of questions to whomever might be interested- without fanfare. He assumes that gardeners are a group in touch with the physical world, and provides them beautiful choices. Alternative choices.
This Austin and Sealey sculpture from 19th century England was minutes from being moved as I took this picture. I liked the old hand carved stone backed up by a contemporary Belgian elm barrel-why would I go there? I am looking at shapes and surfaces without regard to the sentiment of a given period-many thanks to Rob. It is the best of what I have to offer as a designer-a gardeners point of view, without any predicatable baggage.
A major reconfiguration of the shop is a major effort. We do this every spring. Spaces get emptied, cleaned-raked and ready to redo and live new- a dream come true. Every new gardening season warrants new thinking-we try to oblige. The driveway is congested with things from this show or that, that source or this vintage shop in Virginia-if you have an interest in how Rob spent his winter, come and look around.
I do not have to do that much work to figure out where Rob is going; not really. No one could possibly love their I-phone as much as he does. The internet/photo capability of that phone has set him free. I get indundated by the photographs he takes-everywhere he goes. client’s homes. trips. vacations-ok, busman’s holidays. buying expeditions. random thoughts. By the time the winter is coming to a close, I have a huge photographic record of his collecting. He prints and posts the pictures he has sent me on a big wall in the workroom. I have advance warning. But this does not truly prepare me for what gets unloaded here in the spring . The evidence and impact of his collecting-it will take me a season to absorb.
![Containers421[1]](https://deborahsilver.com/wp-content/uploads/2010/02/Containers4211.jpg "Containers421[1]")
Galvanized buckets and troughs have graced many a barn and farm garden. It’s no stretch to plant them with vegetables, flowers or herbs. My favorite pot compositions of Rob’s are his “roadside weed” plantings. Loose, grassy and verging on scraggly, they are charmingly natural and unstudied. A bucket is a perfect container. A sizeable pail can be an unexpectedly handsome home for a lotus. My brother had a garden party once (Petey most assuredly is not a gardener)-he used a number of large pails as burn buckets once the light started fading. I must admit it looked great-his casual grouping of fires in buckets. ![C1191[1]](https://deborahsilver.com/wp-content/uploads/2010/02/C11911.jpg "C1191[1]")
This large galvanized steel cistern is English in origin. The pitted, highly textured surface is indicative of some age. A tomato garden with herbs would be smashing. It would be equally as attractive as a fountain. It is also the perfect height to accomodate a large thick stone top-a perfect dining table base for a contemporary garden. Galvanized metal is a chamaeleon garden material-it seems to adapt and make itself at home in a variety of settings.
This old French water cart would be my nemesis-I cannot imagine filling it with water, and hauling it to the garden, many times over. But parked in one spot, I could come to appreciate its form, and its history. Not everyone loves classical garden sculpture; it’s a good thing they don’t need to. Though it would not be my choice, I have seen gardens where vintage tools are displayed as sculpture to beautiful effect. 
Pictured above is a panel of a terra cotta square pot made by the Galloway Company from Philadelphia Pennsylvania in the early 20th century. The river bottom clay from whence their pots were made is naturally this color. There is no mistaking this is a natural material, even if you have never seen anything made from cream colored clay. The surface is genuine; it rings right.
Do you even have a number in mind for all the different kinds of leaves that must exist? Their surfaces can be hairy, shiny, matte, smooth-there is no end of variation. But what they all have in common are surfaces that are unmistakeably alive. They live and breathe. I could not really explain what it is about a living surface that is so evident. Suffice it to say that I have yet to see an imitation that was truly convincing. 
Concrete is a man made material which I greatly like. These terra cotta oyster floats have blobs of concrete which help to weigh the floats down in the water. Concrete as a material is at its most beautiful when its surface accurately represents exactly what it is-concrete. Of course everyone has had to make concessions of one kind or another over their garden. I myself have concrete terra cotta pots made in the style of classical Italian terra cotta. I have three places where I wanted a pot in situ 12 months of the year. My concrete pots enable this. Their workmanship is incredibly good. However nothing moves me more than the clay. 
Steel and iron are likewise a product of human technology. The surface of steel will age, as it corrodes. The pits in the surface can provide a home for small plants, just like terra cotta. How steel ages can be very beautiful; age on a man made surface greatly enhances its appearance.
The surface of this terra cotta pot looks like a painting. I have no idea how it was done, but there is no evidence of paint. Whatever altered the surface has soaked in, and become part of the clay. I am told the material is mineral based-as are many pigments.This treatment I can live with. The shape and texture of this pot is beautiful as well-it reminds me of a squash, without trying to look like a squash.