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Vernissage, 2018

 

Nine years ago, on April 1 of 2009, I published my very first Dirt Simple blog post, appropriately entitled “Vernissage”. As much as it was the commencement of my gardening season, it was a very special beginning for me. I published on this date the first journal style blog essay focused on garden and landscape design. To date I have published 1621 essays. Some are good, some are OK. Some are fun, and others I hope are challenging. You decide. But I have thoroughly enjoyed the process of organizing my thoughts, and writing them down in some in some coherent form. Every moment that I have spent photographing gardens, landscape projects, and plants for this column has been time in the garden that has made me slow down, observe and reflect.  More recently, my posts are longer, and more detailed-and fewer. I write when I think I have something to say. To follow is a revisited, rethought, and revised version of my first post in 2009, annotated in 2010, 2012, 2014,2015, 2016, 2017, and today-April 5 of 2018. Why April 5 instead of April 1?  We are still waiting on spring.  A colleague suggests maybe April 11.  We’ll see!

Strictly speaking, the French word vernissage refers to the opening of an art exhibition.  I learned the word 23 years ago from a client with whom I had a history spanning better than 25 years. She was an art collector. Our conversation over the years spoke to the value of nurturing long term interests and commitments.  I learned plenty from her, and from her garden, over the years. In the beginning, I planted flowers for her.  Our relationship developed such that I began to design, reshape, and replant her landscape.  She was passionately involved in the disposition of every square foot of her 8 acre property. The years flew by, from one project to the next.  I have favorite projects. An edited collection of fine white peony cultivars dating from the late 19th and early 20th century was exciting to research and plant. A grove of magnolia denudata “Ivory Chalice” came a few years later. Another year we completely regraded all of the land devoted to lawn, and regrassed. I learned how to operate a bulldozer, I so wanted to be an intimate and hands on part of the sculpting of the ground. We had a relationship that I treasured.

There were disasters to cope with, as in the loss of an enormous old American elm. Deterring deer became nearly a full time job. Spring would invariably bring or suggest something new. All these years later, there is a body of work generated by the two of us that I call the landscape – that living and breathing discussion about nature that draws every gardener closer to the knowledge that life is equal parts mystery and miracle.

She sold this property some years ago.  Change comes sooner or later to people and gardens alike. The landscape of her new and much smaller property was a design challenge for the both of us.  That new landscape was all about a conversation about letting go of what had brought her so much pleasure, and embracing the challenges posed by beginning over. Making that move with her from one large landscape to a city lot landscape was hard. That transition was not pretty for either of us. I am sorry to say that we broke up over the stress of this move. I am sure she felt just as bad as I did. This treasured client passed away this past winter.  It was more than hard for me to bid her farewell. I will never forget her. She encouraged me to be the best that I could be. She trusted my eye, and I loved hers. The following is in sincere regard and respect for Marianne.

In a broader sense, vernissage does refer to a beginning- any opening. The opening of the gardening season has a decidedly fresh and spring ring to it.  I routinely expect the winter season to turn to spring,  and it always does, sooner or later. Every spring opening has its distinctive features. Some springs are notable for their icy debut. Grape hyacinths and daffodils ice coated and glittering and giant branches crashing to the ground-this is not so unusual. Snow can be very much a part of the landscape in mid April.  This year, a different kind of no change of status. The rule of the day was more of the same. A warmish February, and then a stony March cold that has become a stony cold April. Night temperatures in the 20’s, wind and cold has kept all of our plans, and our plants, under wraps. We hope to begin outdoors next week.

I usually associate spring with the singing of the birds. I hardly noticed the singing this year, until this past week. The cold that has been reluctant to leave means there has been much more anticipation than experience.  I see a few small signs now. The snowdrops are in bloom, but they look bedraggled. The magnolia stellata is still silent. Perhaps there will be no flowers this year, but perhaps there will. To add to, revise, or reinvent my relationship with nature is a challenge I usually anticipate. It has been hard to rev up this time around. The last of this persistent cold reduces my spirit to a puddle on the ground. A client suggested yesterday that February had been steady at 60 degrees, and March seemed to last 60 days. How well said!  Spring is finally within sight, in a chilly and miserly sort of way. Everywhere I see fat buds, waiting for that signal to proceed.

Much of what I love about landscape design has to do with the notion of second chances. I have an idea. I put it to paper. I do the work of installing it.  Then I wait for an answer back. This is the most important part of my work-to be receptive to hearing what gets spoken back. The speeches come from everywhere-the design that could be better here and more finished there. The client, for whom something is not working well, chimes in. The weather, the placement and planting final exam test my knowledge and skill. The land whose form is beautiful but whose drainage is heinous teaches me a thing or two about good structure. The singing comes from everywhere. I make changes, and then more changes.  I wait for this to grow in and that to mature. I stake up the arborvitae hedge gone over with ice, and know it will be years or more-the recovery. I might take this out, or move it elsewhere.  That evolution of a garden seems to have ill defined beginnings, and no end.

VERNISSAGE (4)This spring will see an average share of burned evergreen and dead shrubs. The winter cold and wind was neither here nor there. I am still wearing winter clothes. But no matter what the last season dished out, sooner or later, I get my spring. I can compost my transgressions. The sun shines on the good things, and the not so good things, equally.  It is my choice to take my chances, and renew my interest. The birds singing this 5th day of April l means it is time to take stock.

I can clean up winter’s debris. My eye can be fresh, if I am of a mind to be fresh.  I can coax or stake what the heavy snow crushed.  I can prune back the shrubs damaged by the voles eating the bark.  I can trim the sunburn from the yews and alberta spruce.  I can replace what needs replacing, or rethink an area all together. Two years ago I removed 100 Hicks yews that have been in my garden for close to 20 years.  They have been ailing for years in a way that defied any remedy. I now have 60 feet of planter boxes, that will be mine to plant for a second season. I can look over what I did the first time, and make changes.  A pair of new arbors installed over a year ago hold roses, clematis and Dutchman’s Pipe. I see buds on those plants. I can sit in the early spring sun, and soak up the possibilities. I can sculpt ground. I can move all manner of soil, plant seeds, renovate, plant new.  What I have learned can leaven the ground under my feet-if I let it.  Spring will scoop me up.  Does this not sound good?

April 1 marked 26 years that Rob and I began working together, and 22 years that the shop has been bringing our version of the garden to all manner of interested gardeners. That relationship endures, and evolves.  Suffice it to say that Detroit Garden Works is an invention from the two of us that reflects the length and the depth of our mutual interest in the garden. In 1996, our shop was a one of a kind. We plan to keep it that way. No matter how hard the winter, once we smell spring in the air, we stir. Rob’s 2018 collection of hellebores and topiary plants is a delight to the gardening eye. Our annual Spring Fair, this Saturday.

We have begun to plant up spring pots.  What a relief to put our hands back in the dirt. We will soon be able to be outside in a light jacket-hooray.

We are ready for the new season.

Sunday Opinion: Shopping

I will be the first to admit that I shop for holiday gifts via the internet.  It is an amazing convenience for a working person like me.  Not that I take the easy way out.  I do try to make the effort to research for those things that are out of the ordinary. I read most every day the Canadian blog Poppytalk-I so love how they provide a market for independent and small business people who create distinctively individual and enormously creative objects. Check out www.tinytoadstool.com.  Is her work not astonishingly inventive and beautiful?  I found her via Poppytalk.       

I can explain further why shopping on line is a big help to me.  Anyone involved as I am in a retail store is incredibly busy this time of year. The shop gets outfitted for the holidays between October 15 and November 15-this takes every bit of 30 days.  My landscape company does an astonishing number of winter and holiday projects between November 15 and December 20th. Most of those projects I have not photographed yet-no time yet. I design,  run a crew, and fabricate.  I make things for the store in my spare time.  It seems like I am working in the spaces between the days too. The shop grounds need dressing  for the winter-I plan to finish that up tomorrow. I am late on the finish-I didn’t have an idea I liked until 3 days ago.  My Sundays are a mix of planning the week ahead in the morning, and working the shop in the afternoon. The Sunday opinion post-over a slow weekend, I write it Sunday morning.  Over a fast paced Sunday, I do it Sunday night or Monday morning-as in now.  Even the weekly/daily posts get behind, though I try my best to keep up.  This leaves me not so much time to shop.  I have a brother I adore, and a sister in law I adore even more- in Colorado.  Shopping for them, and Buck, and my close friends is a serious business.  I fret and fume over locating the perfect thing for each of them.  Not that I mind this.  All of them are worth every minute I spend.  Should Christmas get too close without a clear sign, I err on the side of being on time with something.  They never seem to mind if a special holiday gift arrives just after New Year’s, but a gift on time counts for much.  I never shop my own shop for for the people I love-I doubt I need to explain this.

Shopping for Deborah Silver and Company, or for Detroit Garden Works is a much different kind of shopping.  Were I able to make internet inquiries and purchases for materials for my landscape company and store in the time it takes to click, I still would not do it.  In fact, sourcing great materials involves much more than an email enquiry.  But more importantly, we are known for a collection you will not find elsewhere.  A collection based on the eye and experience and aesthetic point of view of our group.  Rob travels overseas and all over this country to auctions, antiques markets and shows. He shops local markets.  He drives places he has not been, with the express purpose of maybe meeting people who make or collect interesting objects and plants. Over the past 18 years he has met no end of small independent business owners who have very special products to sell.  On occasion, he will be able to convince them to produce their glazed terra cotta pots in a color they do not ordinarily do.  Or in a sized they have not done before.  Their willingness to accomodate his special requests has a lot to do with the fact that he made time to go and meet them in person, and cultivate a relationship.  We may reorder from a vendor once we have established a relationship with them, but in the beginning, all of our buying is done in person. 

My landscape superintendent Steve Bernard travels extensively over the winter, sourcing plant materials, tools, new techniques, and landscape materials.  This means he visits nurseries and growers all over this country. He reviews their material, and their growing practices.  When he buys, he buys specific plants. Viewing in person-there is no substitute. Some of my relationships with growers date back to the 1980’s.  When I worked for Al Goldner, he insisted that everyone travel to meet growers and hybridizers.  He taught me to do this, and I have done so ever since.  Shopping like this takes lots of time, effort and committment.  Plane tickets.  Meals and lodging.  Car rentals, phone charges.  Days away from home.  Some trips prove fruitless, but no matter; we keep looking.  Our interests evolve. One thing can lead to an intriguing another, should the effort be made.  I do this so my clients get the benefit of our collective eyes.  I do this so both the shop and my landscape company stay fresh and vital.  I also really enjoy it; it’s satisfying to find something new and beautiful.  There are lots of beautiful things out there-it just takes some effort to find them. 

I cannot buy ribbon for the holidays via the internet, or a catalogue.  I need to see it in person-I need to put my hand and my eye to the spool, and decide if it represents our idea of useful, interesting, and beautiful.

A Second Look At Hydrangeas


A reader left a comment yesterday about my post about Limelight hydrangeas.  Nursery catalogues did not have that much information about hydrangeas.  The gardener’s lament-we all know that tune.  Though I spent my late twenties falling asleep with the White Flower Farm catalogue under my nose, nurseries who sell plant material by mail do not trial plants.  They decide what they want to sell, and they make much of the good characteristics of those plants, and perhaps ignore or gloss over the problems with those plants.  Books record the one day that is a perfect moment-this bears no resemblance to what it is to grow a real garden.  Perfect moments do not come along all that often.  

I do not blame nursery catalogues one bit.  They are in the business of generating excitement about their plant offerings, and selling them. Gardeners are naturally interested in new plant introductions-so many nurseries feature them.  Other nurseries have invested acres of growing space to a variety; they are not so keen to move on to something new when they have fields of last year’s cultivar yet unsold. A nursery catalogue is a list of available plants-nothing more, nothing less.


Hybridizing and bringing a plant to market is a costly and very time consuming endeavor.  Growers routinely put their time and money on the line, believing the plants they have to offer will deliver what gardeners want.  Make no mistake-I planted more than my fair share of Annabelle hydrangeas.  I fretted and fumed about the weak stems-I caged, tied up, and otherwise tried to remedy what is a fundamental fault in the growth habit of the shrub.  The most beautiful planting of Annabelles I have ever seen was in a bed raised 4 feet off the ground.  The cascading flowers at eye level was enchanting.  The unknown designer knew this plant, and planted accordingly.

I no longer plant Annabelle hydrangeas-the maintenance is considerable. I find the Limelights to be the most reliable, easiest of culture, and most adaptable of any of the white hydrangeas.  They make beginners look good.  They deliver under difficult circumstances.  One is good, 30 are spectacular.  I was able to convince one forward thinking client to replace her Annabelles with Limelights.  I admire gardeners that are able to cut their losses, and move on. 

Pruning hydrangeas is a very important business.  Once you have provided them with a compost enriched soil, regular water, and a fair amount of sun, you have options that influence how they perform.  Hydrangeas pruned short on top, whose side branches are left long, will bloom from top to bottom.  Hydrangeas that bloom on top of woody legs have not been pruned, or not pruned properly. If you like your hydrangeas 4′-5′ tall come the end of July, prune them in the spring down to 18″-24″.  Don’t be shy-they grow like mad.  If you like them tall and bushy, prune lightly.  Prune only in the spring-when you see the buds swelling.  I see landscape companies saw hydrangeas down to ground level-this is much too hard.  Do not count on basal growth-leave buds above ground to grow.
No nursery catalogue will go into this detail-why should they?   I only have detail to report, as I have grown lots of plants in lots of different gardens, for many years.  There is no substitute for trying plants out yourself-unless you have trial gardens near you.  Universities with gardens often trial, or test plants.  You can visit, see what goes on, and make your own assessment. When Alan Armitage favors a plant, I take a good look.  His trial gardens, and his writings,  are known nation wide.

Limelight hydrangeas have cone shaped flowers with a decidedly lime tinge. As I am more enchanted with profusion than color or shape in hydrangeas, I side with the plant that delivers beautifully wherever I might plant it.  Should I have a burning need for pink or blue hydrangeas, I would plant the best hybrid available to me, in the best possible spot, and keep my grimy fingers crossed. I would try more than once, before I gave up.  


Every gardener needs to sort out what matters to them.  I like plants that willingly reward my eye.  They need not be rare or new.  I like plants that grow enthusiastically-that enthusiasm I find beautiful.  How does any gardener assess what might grow beautifully for them?  Try things.  One person who works on my crew bought two incredibly expensive orange echinacea on a trip he took to a nursery to get plants for a job for me.  I can tell looking at them-they will not be hardy.  Maybe 6 generations down the line there will be hardy orange echinacea.  Do I fault him for his hope-absolutely not.  Gardeners need to try whatever moves them, and not be discouraged when all does not go as planned.  Fall down, get up, go on-gardeners know how to do this.    


Welcome to gardening.

Towards A Better Arrangement

My last post ended with this picture; lots has happened with this space in the past two days.  I am standing in the entrance to my glass/greenhouse space; the camera frames what I see from the doorway.  I have tried to arrange everything such that the view of the back wall is framed by objects in the mid ground space.  This makes for an invitation to enter the space, and explore.  I have combined objects with a vintage, and contemporary feeling on the shelves; I like how they work together.  A shelf has height and depth-I try to take advantage of both.  Some objects are parallel to the back wall, some objects come forward in the space.  The cats and dog are great in this space; they make eye contact, and say hello. Three objects-the glass bistro table with the painted green iron base, the yellow Anduze pot, and the contemporary carved wood vase-attract the eye, as they are much different than the predominant color scheme.  It’s only natural that your eye would focus on that which is different. Moving from one of these objects to another constitutes engagement.  If you can move a viewer to interact with a space, they will take the time to see what you have going on there.  If the spaces are confusing and disorganized, a viewer will opt out, see little, pass by.   

Objects that contrast but still harmonize in shape, size and color make good companions.  Always with a vignette I am making a suggestion about what I think would look good together.  At the very least, a well organized space can help another person to organize their thoughts about what does not appeal to them.  Some are gifted with the ability to see in spite of chaos.  I think this quality helps to make Rob the buyer that he is.  He can spot the one item in a mountain of stuff that has the potential to endow a garden. He has the ability to focus on an object and not be disturbed or distracted by its environment.    

Shelves are rigid and confined structures, but that does not mean that what goes on them needs to be visually confined.  Up and down, in and out, what is an unexpected, what is repeated-all of this goes towards engaging the eye.  The little primitive wood birdhouse clearly needs a better spot-it looks lost, does it not?  The oak bench needs enough of its top available to see, and to test out. 

Really special objects ask for a place for the eye to stop and rest. These balsa wood decoys of mud hens date back to the early 20th century-the dealer thought they came from the Maumee Valley of Ohio. Though diminiutive in size, and somber in color, they are quite beautiful sculptures.  They deserve a thorough look and see, so I placed them to reflect how I feel about them.    

Our wall fountain, encrusted with shells, baby tears and moss attracts a lot of attention.  I like for people to be able to walk right up to it.  A collection of pots that readily moss up, and granite bird baths of various sizes make sense in this context.  The old English stone birdbath stands out, as it is so different in period and shape.  Any small subtle object benefits from a placement that draws attention to it.

The wood bistro set with matching chairs gets a big boost from the yellow French strie pots. The colors of both harmonize in a very strong way.  There is a visual reference between the slat stripes and the clay stripes, that is more subtle than the color relationship, but it is pleasing.  Sometimes a client will say they are inspired by something.  I would say if an object and its placement triggers some response, for good or for ill,  the vignette is working.  I am never bothered by anyone saying they do not like something.  I am much more bothered by an arrangement people ignore, or walk by.

I have moved the washing machine base table away from the wood topped tree trunk table, but kept them associated.  The blue galvanized wash bucket across the way echoes the pale blue wash of the big table top, and its galvanized metal edge.  A vintage aluminum tray puts a grey metal object on both sides of the aisle.  That shiny object draws attention to a group of objects that are dark. The volumes and shapes are simple and friendly to one another.  Any objects I would hesitate to put together in my own yard, I would not put together here. 

As much as I love the shapes that plants create in a landscape, I love the shapes of all manner of objects.  I try to display each-from the smallest to the largest-in a way that communicates my interest in good design. There are so many beautiful things that would not work or be appropriate in my garden, but taking care with their placement is a sign of appreciation for the object, its maker, its history, and its use.    


Things are looking better already.