Selecting art for a garden is a process. There are some areas of a garden that clearly have a voice wanting to go up an octave. With more forte, a focal point is often warranted.
When selecting a focal point, keep in mind that it is meant to become the center of visual attention along a line of sight—such as a path, open space, a broad border, or a vista—offering the viewer something to concentrate on. Without this, a relationship among the elements will not be established, and you will lose the attention of the viewer. The focal point should also stay within your garden style theme. Formal elements, such as an obelisk, work well in formal gardens. Rustic bird houses and birdbaths work well in country cottage gardens.
There was an area in my garden needing a sigh spot, a place for the eye to rest. I could have provide a focal point with a specimen plant, but I wanted a nice a piece of garden art.
Viewed when entering the top of the back garden, from a secondary path, the art needed to be special. The backdrop for the piece is the elegant-rustic tobacco fence David Spain and Moss and Stone Gardens installed last spring. Several pieces of art were considered before I found the perfect piece. Long ago I abandoned the notion of finding a filler accent that would just do. I’m at the point where I’m collecting art, not filling a space. It had to be perfect for the location. Perfect in reflecting my style. Perfect in reflecting my taste.
I began to look at various galleries and sculpture tours. This is half the fun. Not in a hurry, I took my time and knew I would I know the piece when I saw it, and I did. It’s a piece called Fencepost. An authentic piece, Fencepost belonged in my garden.
The artist of the Fencepost is Marina Bosetti. I’ve known of Marina’s work for some time, for at least 15 years. I’ve admired her art-Nouveau-inspired ceramic tiles and birdhouses-she creates.
Fencepost looked to be a departure from the typical kind of art Marina creates. Or at least it was new to me. Fencepost reminded me of those old cedar fenceposts stretching along old country roads. I recognized Marina’s interpretation, and felt an immediate affection for it.
In Marina’s design, a red bird perches on top of the fencepost. Here, Marina has used her signature look; employing the ancient technique called cuerda seca, a cloisonné-inspired method that mimics the look of mosaic. Having made two red birds for my commission, she allowed me to choose. It was not an easy choice, but I decided on the one where the bird’s head cocked to the left, just so, as if asking, “What?” Your answer can be whatever you need it to be. Fencepost might well become a spot I visit in the garden when I need answers.
“Personal expression is integral to my work. When customers may be choosing between two pieces, I encourage them to select the piece that evokes a feeling or sensation most appealing to them.” – Marina
I’ll be curious to see how well Fencepost answers the questions of life’s big mysteries. In the meantime, she will serve the role as the focal point with each step into the back garden from an otherwise lowly secondary path.
More on Marina Bosetti…
Since graduating from the Pratt Institute with an MFA in sculpture in 1982, Marina Bosetti has devoted her life to refining her relationship with clay. Despite a progression from sculpting to pottery to art tile, Marina’s work has consistently distilled the abstract, sensual, and spiritual aspects of life into accessible design, image, and easy-to-care-for, durable artwork.
Heavily influenced by the Arts and Crafts and Art Nouveau movements, Marina’s art tile brings beauty into everyday settings. From wall murals and kitchen and bath backsplashes, countertops, sinks and tub surrounds to the numbers used to display your home address, each hand-made, hand-painted Bosetti project is unique. As Marina says, “Clay is the most ancient and versatile building material we have. It is earth.” Artist’s Bio after falling in love with clay in kindergarten, Marina Bosetti still finds its allure irresistible.
Marina studied sculpture and earned her Fine Arts degree from Pratt Institute in Brooklyn, New York, where her university work was featured in the Juried Senior Art Show and a one-person show at the Pratt Sculpture Gallery. Marina demonstrated throwing at the American Crafts Museum with Elisabeth Woody and worked at the Jack D. Wolfe ceramic supply company, slip casting for artist Nina Yankowitz. Marina also worked with architectural facades at MJM Studios in New Jersey.
From 1988 to 1989, she sailed a gaff-rigged schooner from Nova Scotia to the Bahamas, and then to Beaufort, North Carolina — officially transitioning from her life as a New Yorker to a new life as an artist in North Carolina. Her influences include Eugene Grasset, Yoshiko Yamamoto, Dard Hunter, Frank Lloyd Wright, Rennie & Rose, Rennie Mackintosh, Gustav Stickley, William Morris, William de Morgan and her clients. A list of her shows awards and grants demonstrating her passion and commitment to exploring new forms, collaborating with others, teaching, and winning awards.
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