Linda Bell, Author at

Villa Rucellai, Italy

‘Casa da Signore
con torre a
modo di palagio’

(Gentleman’s House with tower in the fashion of a palace’)

AN ITALIAN WELCOME

Skip back to the 15th century and enjoy a night or more of Italian luxury at Villa Rucellai!

Through the gates and up the winding levels of the hillside this turreted mansion transports guests to the fuzzy realms of a sepia photograph.

That, or the lucid mirage of a creased and dog-eared watercolour study on the back pages of a European Grand Tour folio.

Draped in wisteria the large windows, chimney stack and sand-coloured walls are haloed by a rooftop belfry. Arranged in a rough ‘L’ shape the entrance is shielded from the strong summer sun.

Ferns and plants with curling leaves unfurl wabi sabi up the ancient stone staircase. A set of glass doors leads into the imposing vortex of the entrance hall. Akin to the honey-coloured hue of a beehive’s heart, a rustic gold warms and refreshes. Illuminated leaves of a lemon tree dance in piercing shafts of light as bands of white slide down in diagonals, contrasting the curving vaults of the historic ceiling high above the harpsichord and harp. These first impressions magically transport you to the vision of a bygone age.

Your time travelling expedition into this lair of Renaissance Italy is consummated with a fine Italian welcome. No photocopier or computer in sight, your details and passport number are manually entered by hand into a yellowing, deep bound ledger, seemingly from another world. Revel in the scratchy patience, the calligraphic loops of each letter inviting you deeper into this dream of decadence.

And in the spirit of oldy-world-y time keeping, be sure to note your arrival time as accurately as you can when you make your booking to ensure preparations are finished in your personal part of this palace!

CAMERA DA LETTO

Spacious and cooling rooms are ornately furnished with antique and traditional marquetry furniture. From the grandiose vanity tables enlayed with ormolu detailing to the chaise longue, the bedrooms sparkle with opulence and Italian charm. Magnificent looking-glasses will make you wish you had diamonds and Cinderella slippers for the leading role in a period film or mysterious novelette!

With no televisions to ruin the look and sense of escape from the 24/7 stream, even the wifi is a tad patchy so you can finally finish that chapter in your book or write postcards to tell your friends all about staying in a palacial hotel!

As the velvet of night begins to fall, the gentle sounds of the water jets outside merge with the soft ambient lighting, a stately setting for sweet slumber!

EXPLORE THE ROOMS & GROUNDS

The open space of the entrance hall contrasts with the decadence of Villa Rucellai’s lounge. From the chandeliers above to the carpets below, there is a feast for the eyes!

Gasp in wonder at treasures from days gone by. Framed engravings and watercolours all add a personal, human element to the opulent finery. Intaglio prints and limited edition portraits all tell stories of Italian life and culture.

Help yourself to a drink from the mini-fridge honesty bar!

Sip as you slip outside to sit on the historic balcony and admire the views framed by the ancient stone archways. Feel like a duke or duchess from long ago as you survey the rolling hills stretching into the distance. Under blue skies this reverie into a bygone age is broken only by the rattle of a passing train in the distance beyond the proud, sentinel Cyprus trees.

Take a stroll through the gardens, admiring the Del Tovaglia coat of arms still displayed above the door on the southern facade. Elegant statues intersperse the blossoming roses and lemon trees, all thoughtfully arranged. Gateways and viewing platforms lend an essence of majesty and hint towards secrets of romantic rondez-vous as though fleeting memories.

SILENCIO

An elusive sense of soft, still silence eminates from Villa Rucellai. A sense of silence which rests in the creases of the curtain drapes and shifts with the shadows, sweeping across one framed mezzotint to the next.

A sense of silence which hides in the backs of chairs and the arches of a stringless harp. A silence which follows the curves of the picturesque archways on the balcony before vanishing into the manicured landscape below.

PENDOUR PRO-TIP

Take the bus into Firenze for a further history boost! Staying a little further away from the city saves navigating so much traffic, and you can still enjoy the peace and quiet of the Italian countryside – the best of both worlds! Plus, you get to enjoy the view of the city, rather than just the views from within the city!

Flixbuses depart from Prato Piazzale Del Museo frequently throughout the day, it’s only a 15 minute ride into Florence! If you don’t have a car rental for this Park & Ride, take a taxi into Prato, or enjoy the hour and a half walk from the villa to the bus stop!

SWIM & RELAX

Dive in to Villa Rucellai’s inviting pool to cool off!

This is one of the best pools I’ve enjoyed in a historic hotel! Once a fish hatchery, the water is wonderfully deep. All signs of fish have long ago vanished, so you can get your lengths – tumble turns included! – without interruption in these sparkling turquoise waters!

Emerge from the water refreshed and ready to catch some sun in the nearby deckchairs. Matching tasselled umbrellas enhance the aesthetic and ensure the poolside offers a serene experience!

RESTAURANT

There is a delightful looking converted out-building opposite the pool, Villa Rucellai’s restaurant. This perhaps gives an almost ‘village life’ appeal to the grounds but unfortunately was closed on the day of my stay due to a National Holiday.

*Do check before making your booking!*

As an alternative, the staff offered the chance of a freshly prepared picnic dinner to take out at sunset and enjoy the gardens or little seating areas dotted about the gardens and olive grove of Villa Rucellai. However, they did not seem to know quite what the picnic consisted of, so I ended up going to the outskirts of Prato in search of a locals’ friendly little restaurant!

PENDOUR PRO-TIP

Don’t miss an opportunity to crash land back into the twenty-first-century by visiting the Centre for Contemporary Art in Prato! Designed by Italo Gamberini, this futuristic exhibition space has a wonderful permanent collection with over 1000 works of art dating from the 1960s to the present day (don’t miss the Julian Schnabel); an archive; library; bookshop and restaurant with regular temporary exhibitions of paintings, sculpture, film and installation.

If you don’t have a car rental you can simply order a taxi from reception for a few euros and enjoy a trip down to this vibrant and dynamic art hub!

I did of course sample the breakfast buffet which was rather more hearty than the usual Italian affair! Served in the airy morning room with a delightfully rustic feel, you may take your meal out to the Villa Balcony if (unlike me!) you get up early enough and take in the crisp blue skies.

Villa Rucellai also harvests and presses its own wonderful olive oil. Be sure to sample at breakfast time, poured over fresh breads, eggs and salad! If they have not run out and you have space in your luggage, you can even purchase a bottle to take home with you. . . . A little taste of the Villa’s sumptuous appeal!

A PALAtIAL P.S.

Admittedly, this incredible place to stay may need a little attention here and there – understandably a never ending task – but this in no way affects the queen-like quality of your stay!! The overall feel and spirit of the property is evidently well cared for by the Pique family, so as to ensure an exceptional and memorable stay of palatial proportions!

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02 - 03 - 2502 - 03 - 25

PENDOUR PAMPER : Review of Alteya’s Bio Damascena Organic Rose Otto Face Sunscreen Cream

If you’re looking for a daily facial moisturiser that protects your skin from the sun whilst being free from additives and harsh chemicals, your search is finally over!

Featuring organic rose and lavender oil from Alteya‘s farm in Bulgaria, along with jojoba and shea butter, there’s plenty to moisturise and care for your skin.

This is my daily go-to cream (I hope you’ll love it too!). I always have a bottle or two on the go – one at home for a mini morning ritual and another in my go-bag to top up when I’m out and about, especially on a sunny day!

UVA & UVB PROTECTION

Let’s start with the SPF factor of this rosy cream. At a concentration of 18%, Non-nano Zinc Oxide is the active ingredient. Too large to be absorbed through the epidermis, the molecules of this mineral filter sit on top or on the outside of your skin when applied and behave like tiny mirrors reflecting the sun’s harmful rays. Non-nano Zinc Oxide effectively blocks the rays by creating a physical barrier over the skin.

In contrast to chemical sunscreens which are absorbed by the epidermis and usually contain harmful ingredients such as oxybenzone and octinoxate (endocrine and hormone disruptors), Non-nano Zinc Oxide is safe for sensitive skin and it has never been found to have entered the human bloodstream via the skin. Non-nano Zinc Oxide provides Broad Spectrum SPF meaning it reflects both UVA (which burns the top layer of the skin) and UVB rays (which penetrate the middle layer of the skin and lead to melanoma). Additionally, there is evidence to suggest that the Broad Spectrum protection provided by Non-nano Zinc Oxide can offer a ‘shielding’ quality against blue light emitted from our phones, laptops and devices.

And if you’re heading out for the beach or a bit of wild swimming, of course the toxins in chemical sunscreen can enter the water and are responsible for coral reef bleaching and harming aquatic ecosystems. Not only that . . . but showering off chemical sunscreens further enables these harmful ingredients to enter the water ways and even our drinking supplies!

On the other hand, Non-nano Zinc Oxide is reef safe and has been proven to be non-toxic to humans. Alteya’s Bio Damascena Organic Rose Otto Face Sunscreen Cream is therefore a safe and effective barrier against the skin-damaging effects of the sun!

COMING UP ROSES

And now for the Roses!

Alteya’s organic farms are located in Bulgaria, where the most prized roses and rose oil can be found.

Nestled between the verdant slopes of Sredna Gora and the Balkan Mountain lies Bulgaria’s Valley Of The Roses. The first rose plantations were established in this region in the 16th century around the city of Kazanlak. Since then the area has developed, now offering the world’s most sought-after blooms.

Land of the Tharacian Kings, the fragrant Valley of The Roses erupts into euphoric colour every May – June during the rose harvest. This wonderland of blooms is famed for its treasures and many festivities are held during the harvest, inspired by the beautiful abundance of the roses.

This idyllic setting provides favourable growing conditions for the most celebrated of roses. Over half the world’s rose oil is produced here. More expensive than gold, over 3,000 pounds of rose petals are required to produce just one pound of rose oil!

Alteya Organic‘s rose gardens can be found in the very heart of this sheltered 87 mile long valley. Fluffy clouds deliver just the right amount of rain (and shade) while the air humidity and protection from the mountains ensures a mild winter climate. Rich sandy soil also contributes to the rose bounty, unrivalled in its radiance.

Alteya does not use any harmful pesticides or herbicides on its organic farms, carefully controlling the production of their flowers to benefit both Nature and your skin!

The delicate roses are harvested in the early morning whilst it is cool before the heat of the afternoon sun evaporates the precious rose oil. Picking roses is a labour intensive and skilled task performed completely by hand and timing is crucial. Freshly harvested petals are immediately taken to the Alteya distillery. Distillation is a complex procedure but ensures the high quality of Alteya’s unparalleled rose oil. The process is strictly controlled to maintain USDA Organic standards throughout.

The freshly plucked rose blossoms are placed in a still where low pressure steam is used to release the essential oil. This aromatic vapour is then cooled to enable condensation. As the vapour condenses the oil and water separate because of their different densities. Alteya’s special distillation process ensures a high quality rose oil, reflecting the luscious nature of the organically grown rose petals.

And what a glorious effect this rose oil has on the skin blended with the Non-nano Zinc Oxide in this daily Damascena Sunscreen Cream!

MOISTURISING INGREDIENTS

From coconut oil to aloe vera leaf juice there’s an array of skin-loving ingredients packed into this lovely lotion to soothe and moisturise.

Complimenting your usual facial serum and moisturiser, this ‘top coat’ provides much needed sun protection and an extra layer of nutrient rich pampering for a luminous, dewy finish. Alteya’s Bio Damascena Organic Rose Otto Face Sunscreen Cream can even work as a gorgeous primer for make-up.

Several of the ingredients such as acai fruit oil and seabuckthorn fruit extract are rich in antioxidants. This helps to prevent premature ageing whilst keeping the skin nourished and protected from the sun.

All this, from one little glass bottle

to make you feel as luminous as

a beautiful Bulgarian rose!

Within about two weeks of using this cream every morning over my usual Ethique serum and Ilex Wood moisturiser, my complexion transformed! Smoother, with fewer blemishes and outbreaks, my skin started to look much clearer and I’m sure this is down to the goodness of the organic rose and lavender oils!

Alteya’s Bio Damascena Organic Rose Otto Face Sunscreen Cream is lightweight and non-greasy with a thick, viscous consistency. Compared to other Non-nano Zinc Oxide sunscreens which have to be thoroughly rubbed in, this has a lot more flow; it effectively melts into the skin. The cream’s slightly cooling effect produces a soft, dewy finish with the refreshing feel and scent of crisp, fragrant rose petals.

Breathe in that rosy radiance!

Gentle enough to close your eyes and transport your senses to the flourishing bouquets of the Valley Of The Roses. . . . .

With no sulphates, parabens or nasties in sight,

you can indulge your beautiful face in the

organic radiance of this rose-hearted Sunscreen Cream.

PENDOUR PRO-TIP

It’s recommended to apply this cream 15 minutes before heading out into the sun. With an SPF of 25 I find it beneficial to team up with Raw Elements or Sol de Ibiza’s Sunscreen and a hat for added protection when out in the strong afternoon sun for a while!

IN THE PINK

Non-nano Zinc Oxide has been known to leave a white, chalky cast. However, for this luxurious product iron oxides have been added – not only to slightly increase the SPF value – but to offer an attractive sheer pink tint for your nose and cheeks! Gone are the days of looking like a milky white ghost!

The first time I applied this cream I was a little anxious by the colour!

Afterall, it is a rather bright shade of pink . . . . In fact, I wasn’t even sure if I liked it at first! All childhood memories of camomile lotion aside, once smoothed over my face the intensity of the shade did fade after a few moments. As I’m rather fair, I find that this pink tinge actually works wonders for me. The tone adds light and depth to any pasty patches. It’s especially perfect in the winter months (whatever time of year or climate it’s now recommended to wear SPF every day, even indoors) but is perhaps a tad bit too pastel-y in the summer when my natural bronze glow is go. In which case, I add a little All Earth Mineral Bronzer!

However, if you have a darker complexion I’m not sure if this pink tinge would be a bit much? Let’s hope Alteya soon release this product in a few different shades!

And did I mention that this Bio Damascena Organic Rose Otto Face Sunscreen Cream makes an amazing makeup primer? It’s a super base for foundation and behaves almost like a full-face concealer, offering enough ‘grip’ for All Earth’s Mineral Foundation. I do not wear make up on a day-to-day basis, but the sheer tint makes my face feel slightly less. . . . naked.

Honestly, I rarely go out now without having put this gorgeous organic facial sunscreen on. I think it gives the impression that I have put an undercoat of makeup on and that I’ve taken more time, care and attention in my appearance than I actually have!

PENDOUR PRO-TIP

If you have to put eye drops or contact lenses in, or need to brush your teeth, be sure to do this before you apply this soothing cream, or wait a good 20 minutes so that the cream has time to dry and soak in. Otherwise, tears may cause the pink finish to run and look a little streaky if it hasn’t fully ‘set’!

PACKAGING

Alteya’s Bio Damascena Organic Rose Otto Face Sunscreen Cream is packaged in a slimline pink box with a hint of sparkle. This outer packaging is thin card, which can be recycled. However, it would be good to know if eco-friendly inks have been used.

The glass bottle inside contains the glass bottle of mesmerising rosy-pink cream and easily slips out. Its dark shade compliments the pink label; the product looks classy and sophisticated!

Although the glass can be recycled, the cream is dispensed by a push pump. This of course is plastic, as is the little removable locking cap. Although this system allows a little to be pumped out each time, I’m not sure so much plastic is entirely necessary and that the Sunscreen could instead be in a glass jar with a wide opening to fit your finger tips in to scoop out a small amount. Additionally, there is always a little bit left at the very bottom that you can’t quite reach!

Moreover, the cream is perhaps a little to thick for the pump system and on several occasions has blocked the tube.

However, this is still the best organic facial SPF I’ve found with no nasties, nor dreaded Xanthum Gum, so these points are only minor drawbacks. I look forward to how Alteya expand and whether they will continue to uphold their commitment to the environment by reducing reliance on plastic.

The outer packaging is usually a large cardboard sleeve which is not only lightweight and easily recyclable, but always seems to offer great protection for the rose infused products inside!

DELIVERY & REWARDS

When buying online directly from Alteya there is a delivery cost of £3.95 for all orders under £49.99. For free delivery, spend over £49.99. Orders are dispatched by Amazon logistics, which might be a bit quicker than other carriers, but possibly not so environmentally friendly! I think we’d all love it of Alteya could find a way to make deliveries at least carbon neutral by off setting credits in some way.

Alteya also offer a Rewards System. This is quite new so I’ve yet to enrol and will update you on this.

ALTEYA ORGANICS

Alteya is committed to organic farming and building a sustainable agricultural model to protect the very special Valley Of The Roses. By incorporating traditional, organic farming and distillation methods, the air, soil and water are protected whilst products are free from any residues of harmful chemicals!

With over 300 employees, Alteya has worked hard to support the local population, ensuring economic survival for many families in the region whilst striving to maintain the area’s agricultural identity.

This is just another reason why I find Alteya’s Bio Damascena Organic Rose Otto Face Sunscreen Cream a must have for radiant skin and respectful farming practices!

A PENDOUR PAMPER P.S.

Unfortunately I manged to knock a bottle of Alteya’s Bio Damascena Organic Rose Otto Face Sunscreen Cream over to create a wonderful mess on my friend’s bathroom floor! In future now I will now transfer this rosy cream to a refillable aluminium tin, which also makes more sense when travelling as there’s no risk of broken glass.

Be sure to check out some of Alteya’s other blissful products using organic rose and lavender oils for beautiful, delicate scents and luxurious treat for your skin!

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PENDOUR PAMPER : Ella Organics – The Anti-aging Eye Treatment Of Your Dreams!

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PENDOUR PAMPER : Ella Organics – The Anti-aging Eye Treatment Of Your Dreams!

Organic, responsibly sourced and lovingly crafted . . . Ella Organics’ Overnight Eye Treatment is a velvet dream for youthful eyes and sensitive skin.

After reading many good things about Ella Organics and this vegan Overnight Eye Treatment, I was so excited to try it out. A year later I haven’t looked back!

This little jar of liquid gold is an elixir

for sweet dreams &

a guaranteed sunrise smile!

EXCEPTIONAL INGREDIENTS

Let’s begin this review by looking at the luxurious ingredients carefully distilled to make this sumptuous treatment :

Organic Buriti Oil :

Harvested from the rainforests of South America, Buriti Oil deeply penetrates the skin’s surface to smooth and soothe. Thought to be one of the richest sources of natural beta-carotene (Vitamin A) this powerful oil packs quite a punch with an abundance of anti-oxidants to fight free-radicals.

Organic Caycay Seed Oil :

From the heart of the Amazon rainforest to your bedside table, caycay is the perfect addition to this night-time reverie! Caycay contains high levels of Vitamin E and retinol, boosting collagen production and encouraging skin renewal. From preventing age spots to nourishing your delicate under eye area, this miracle maker is having a moment to shine due to its many decadent, skin-loving benefits.

Organic Cucumber Seed Oil :

A versatile ingredient containing high levels of linoleic acid and Vitamin E to maintain the skin’s protective barrier. It’s beneficial for sunburn and reducing dark circles after jet-lag, late night reading or an evening on the town!

Organic Maracuja Seed Oil :

More commonly known as passion fruit, this ingredient is native to south America. The cold-pressed oil is extracted from the seeds of the fruit to brighten dull skin and to alleviate inflammation. Rich in Vitamin A and C this fruity member diminishes the signs of premature ageing and relieves irritated and sun damaged skin.

Organic Prickly Pear Oil :

Not as ‘prickly’ as it sounds! Harvested from the deserts of Mexico and Morocco, the oil contains a impressive 150% more Vitamin E than Argan Oil. Softening the skin, calming redness and inflammation, the oil contains potent betalains to protect skin from ageing. Now to be seen on You!

Organic Tiger Nut Oil :

(Growl!) Favoured by the Ancient Egyptians, tiger nut oil is rich in Omega-3 and Omega-6. A fabulous moisturiser for dry and dull eyes, the oil burns bright in the fight against wrinkles, acne and skin damage. Anti-oxidant tocopherol fights free radicals to preserve, nourish and protect the wrinkle-prone skin around the eyes.

Organic Watermelon Seed Oil :

This powerful ingredient not only opens up pores to keep them clean, but repairs DNA damage and maintains skin elasticity – paramount for taming those fine lines!

Mmmmm!

A magnificent cocktail of skin-rescuing, wrinkle-smoothing oils.

So divine you can not only see but really feel the nourishment . . .

SWEEP N' SLEEP

It really is a delight to apply this golden treatment. It’s the ultimate lullaby before your beauty sleep!

Tips for applying Ella Organics’ Overnight Eye Treatment :

– Ensure skin is cleansed and moisturised. I apply this gorgeous treatment last, after a lovely serum and moisturiser. Ella Organics’ Overnight Eye Treatment is the cherry on top!

– Ready to release the radiance?! Press the little white pump so that a few drops land on your ring finger – I find one pump is actually generous enough for both eyes.

– Lightly dab about half the oil around one eye and then onto the next, coming back to the first eye to gently press it in a little more.

– Don’t forget to do the side of the eye where fine lines tend to appear, this area needs pampering too!

Be careful not to run this treatment into your eye, I’ve found it can cause a little irritation lasting about 5 minutes.

– Once your eye area is nicely oiled up, allow to soak in for a few moments!

– For an extra skin loving treat, drift off wearing a silk eye mask!

EYE DIFFERENCE

And now the moment you’ve all been waiting for!

Does this treatment work, does it help to reduce eye bags and wrinkles?

The first few times I applied this gorgeous treatment I really felt all the goodness soaking into my skin, nourishing, smoothing and calming. I have been using this oil for about a year now and it definitely helps to maintain a healthy look! I do feel it makes the creases under my eyes less prominent, much more plumped and firmed in the morning. However, it’s difficult to gauge the effect compared to not using the Overnight Eye Treatment.

If I skip a few nights (either I’ve run out or I’m living out of a carry-on suitcase!) I do notice that the skin under my eyes begins to feel a bit dried out, literally calling out for this tempting treatment! Such withdrawal symptoms really illustrate the nourishing goodness of this carefully crafted oil and how much my skin has come to rely on its potent properties.

Out of all the different eye serums and oils I have previously tried, this is superior by far. This product has much a much more dramatic effect at tightening the eye area. I believe this must be down to the 100% organic and natural ingredients in the treatment, with no additives to upset the delicate balance.

After a long night flight this Overnight Oil Treatment is especially restorative and certainly helps to reduce puffiness and dark circles so you can quickly feel and look your best!

Combined with a healthy lifestyle, diet and water intake this rich treatment can work wonders!

ELLA ORGANICS' ETHOS

The cornucopia of skin boosting ingredients contained in this little jar are certainly some of the finest natural oils you can find in this price range along with an honest and caring culture behind the label.

All ingredients are certified organic. Ella Organics is committed to produce a skin care range of the highest quality – free from additives, parabens, colourings, fragrances and preservatives. Sourced from ethical and sustainable farming and harvesting practices aligned to strict guidelines, this luxurious treatment has been beautifully blended to maximise the healing power of Nature!

Co-founder Linda Auksmukste developed Ella Organics in response to the organic lifestyle enjoyed by her grandmother. Inspired by her grandmother’s respect for Nature, Linda has travelled far and wide across the globe in search of botanicals traditionally used by local people to enhance their youthful appearance. Linda discovered that a wholesome approach and exclusive use of organic ingredients without the use of questionable preservatives or harsh additives produces amazing results.

Suitable for everyone, of any age and skin type, the vital molecules and minerals naturally contained in the organic oils provide a rare opportunity. Ella Organics is one of the few skin care specialists inviting us to enjoy a cruelty free, never tested on animals, ethically sourced skin care range with 100% organic ingredients with a minimal use of plastic packaging.

DELIVERY & PACKAGING

At the moment, Ella Organics is only available online, it would be wonderful to see their lovely products in store so as to reach a wider audience!

My Overnight Eye Treatment arrived swiftly within a few days in a recycled cardboard box. Within this is a nest of recycled and compostable shavings, protecting this holy grail of youth! Should you be interested in gifting this gorgeous product, the glass jar sits attractively in this nest-box shielded by a compostable bio-bag, its wooden collar elevating the rustic vibe.

Of course the jar is easily recyclable and the wooden collar could be composted in the garden or perhaps used for childrens’ craft projects?

The design is very on form, yet I have to admit I’ve had a slight problem as one of my orders seemed to have leaked ever so slightly during transit. When travelling it is not the easiest container to fit amongst others in your 100ml liquid bag and the white cap which prevents the pump accidently loading has come off on more than one occasion. As such, I always aim to keep this special dispenser upright when on the move.

Inside the jar is a spring mechanism. I’m not sure this is completely necessary, and wonder if a glass dropper with a squeeze top would be more appropriate for ease of travelling?

However, these points in no way change my mind about the quality of this luscious treatment!

COST & FURTHER CONSIDERATIONS

With a price tag of £45 this is the most expensive product I regularly use as part of my daily routine. I do find it can last 4-5 months; it’s worth every penny and of course I’m careful not to lose a drop!

Understandably, ethically sourcing all these miraculous exotic oils and ensuring they are of organic origin is no mean feat! The research and attention to detail that has gone into the formulation of this eye treatment will be evident as soon as you awaken to pampered eyes and glowing skin!

A PENDOUR PAMPER P.S.

The finest skin-loving organic ingredients from across the world have been carefully researched and beautifully blended to create this magnificent serum expertly restoring the skin around your eyes. A champion for wholesome living, Ella Organics demonstrates that completely natural and organic products out manoeuvre the synthetic, lab-produced competitors whilst respecting and protecting the natural world.

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PENDOUR PURCHASE – The Best Eco-friendly iPhone Charging Cable by Wave Case – Cable C’mon!

PENDOUR LIVING, Linda Bell

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PENDOUR PURCHASE – The Best Eco-friendly iPhone Charging Cable by Wave Case

CABLE C'MON

These bio-based iPhone charging cables by Wave Case not only charge your phone, but help to protect our planet!

CABLE CONUNDRUM

We’ve all been there, tangled balls of wire with the USB and Lightning ports all shredded and falling off, dangling like old rags and slowing down charging time. Before some one gets an electric shock it’s time for a new cable!

Instead of reaching for the phone company’s own standard plastic-coated cable, there’s a new wire riding this wave! With reinfoced joins for extra longevity and a strong, bio-based coating to support fast charging speeds of up to 3A and data transfer rates of 480 MBit per second, these cables by Wave Case really push the boat out!

MAKING WAVES

Based on the north east coast of England, Wave Case founders John and Ross know only too well the devasting impact plastic pollution has on the marine environment. They decided to take action against the tide of plastic overconsumption by developing an inspirational range of phone accessories and cases. Fashioned from wheat straw instead of petroleum based plastics (such as thermoplastic elastomer aka TPE), Wave Case’s charging cables enable us to join the ripple of small change which eventually makes waves for the good of our planet!

Along with their collection of lifestyle products from bags to bottles crafted from sustainable materials, Wave Case is enabling us to rethink our reliance on plastic.

DESIGN & DURABILITY

The first thing I noticed about these cables is how much more robust they are than those supplied by the iPhone manufacturer! Those joins are so much stronger and solid. I think these cables will last a considerably longer time before fraying sets in. Extending the lifetime of a phone cable saves resources and energy, something we’re all for here at Pendour!

The wire itself is slightly thicker and less slippery than the standard plastic based cables we’re accustomed to. Meanwhile, the patina of the wheat straw provides a slightly dappled texture to the surface of the cable. Yet, this still allows for the same malleability you’d expect from an ordinary charger.

At 1m long the wire bends and can be easily moulded for your own personal use and preference, whether charging in the car, at your desk or whilst on the move!

Wave Case offers a range of charging cables to match a variety of iPhone generations :

– USB-A to Lighting

– USB-B to Lightning

– USB-C to Lightning

As well as the latest

– USB-A to USB-C and

– USB-C to USB-C ports.

The charging cables come in an off-white shade. It’s a neutral tone, soft and un-commanding. I feel some brighter shades may help to entice a wider range of customers and help to stress how important this product is.

Wave Case’s aesthetic prides bright colours in sunrise-style shades. Let’s hope they’ll soon release some rainbow colour ways for their cables so we can mix and match their signature shades to compliment the wonderful phone cases!

SUSTAINABILITY

Whilst plastic phone cables may take many hundreds of years to decompose (if at all in many cases!) these bio-based wires ensure our need to charge our phones will not cost the Earth!

As wheat grows it respires transferring Co2 into oxygen, a contrast to the petroleum based, carbon intensive manufacturing process of plastic coated phone cables.

Bio-based plastics such as those fashioned from wheat straw ensure less plastic ends up in landfill and our beautiful seas and oceans!

There is a lot of information on the Wave Case website – however, it would be good to know more specific details as to where their products are manufactured and the working conditions for those who make them.

There are several other sustainable considerations which ensure Wave Case goes a long way to help protect our planet!

Packaging :

The first and most obvious of these is that there’s no unnecessary packaging – at all! These wonderful cables are kept from getting tangled by a sleeve of recycled card and that’s it! No plastic film or bulky presentation box, so you’re ready to plug in and get charging as soon as your lovely cable arrives!

Shipping :

All deliveries are carbon neutral. Wave Case has teamed up with Climate Partner to calculate the Carbon Dioxide produced from shipping each order. This is then offset by supporting Plastic Bank to assist in ocean clean ups. So far, over 2,000 kg of Co2 has been offset!

Charity :

As members of the 1% For The Planet scheme, 1% of Wave Case’s sales are donated to environmental non-profit charities. Customers are therefore also helping to protect the environment on a global scale whilst charging their phones!!

Proud supporters of Surfers Against Sewage 250, there’s even more reason to praise this wonderful brand, their excellent products and commitment to protecting the marine environment!

Circular Economy :

You can return your old protective phone cases to Wave Case for composting or to be made into new phone cases. Let’s hope they soon introduce a scheme to return old charging cables as well!

COST & FURTHER CONSIDERATIONS

At £9 each these cables don’t cost much more than your average charging wire. But just think how much further your money goes instead of lining the pockets of big corporations!

Wave Case often runs promotions on their cables, which make them even better value with all the environmental benefits compared to the phone manufacturer’s cables!

If you sign up to Wave Case’s friendly newsletters you can receive a 10% discount on your first purchase.

Wave Case also offers a range of other products:

– Gorgeous Phone Cases – check out my Pendour Purchase review!

– Sustainable Roll-Top Bag

– Air Tag Case

– Water Bottle

There is a minimum spend of £25 for free UK delivery using Royal Mail. In both my experiences of ordering from Wave Case this has been great and very fast.

Worldwide shipping is also available for a flat rate of £5, though there could be additional customs charges.

PENDOUR PRO-TIP

Why not order several of these bio-based cables? They make excellent gifts for friends’ Birthdays, or Christmas stocking fillers! It’s a practical present as it seems you can never have too many cables. . . Your family and friends will not only be impressed by the sturdy design of the product, but your thoughtful efforts to support a small business and the environment! (Just be sure to use eco-friendly wrapping paper)

FINAL NOTE

We love a Wave Case phone case here at Pendour – it’s got our name on it, well, almost! – so it’s no surprise we’re so impressed with their bio-based charging cables too!

Help to protect our seas and oceans from the scourge of plastic pollution by supporting Wave Case! It is small changes like this which enables a step in the right direction for the sake of our planet!

Photos :

Many of the photos in this article feature the cover of a monograph of paintings by Brice Marden as backgrounds.

PENDOUR PICKS

PENDOUR PURCHASE : Wave Case Phone Case Review

PENDOUR LIVING, Linda Bell

‘Into the Labyrinth’ : Steve Joy, solo exhibition ‘American Sublime’

Garden of the Zodiac Gallery, Omaha

PENDOUR CULTURE, Linda Bell

Instagram

04 - 01 - 2510 - 01 - 25

PENDOUR PURCHASE – Wave Case

Wave Case – the most durable and sustainable phone case?

Protecting more than just your phone, the colourful pear-drop shades of Wave Case’s mobile phone covers not only suit your personal style and palette but help to protect our seas and oceans!

making waves

Based on England’s north east coast Wave Case founders John and Ross know only too well the devastating impact plastic pollution has on the marine environment. They decided to take action against the tide of our addiction to plastic by developing an inspiring range of phone cases fashioned from wheat straw. This biodegradable material means fewer phone cases end up in landfill and in the sea when they reach their end of life, or you upgrade to a newer mobile phone model.

As wheat grows it respires transferring Co2 into Oxygen, a contrast to the petroleum based, carbon intensive manufacturing process of plastic phone cases.

Along with their collection of lifestyle products from bags to bottles crafted from sustainable materials, Wave Case is making more than just ripples when it comes to rethinking our reliance on polluting plastic!

When you want to protect your phone, why not also protect our seas and oceans?!

SECOND WAVE ROUND

As the owner of an ‘older’ iPhone 8 I was so pleased to find this company who design cases for a whole range of models – from Galaxy to Google – so I was surprised they still had the correct size for my phone in stock!

I have no need or desire to continually update or upgrade my phone – it works perfectly fine despite being dropped numerous times and even being stolen and then miraculously returned to me a year later (!). As such, I’m now on my second Wave Case as the first was lost during the theft. At least it’s good to know this Wave Case is already in the process of naturally degrading rather than hanging around in the sea or a field shredding micro plastics for 500 years as a standard plastic phone cover would!

Design & Durability

Wave Case’s signature aesthetic prides clean lines and graceful, curving corners. This minimalist style offers unparalleled tactile smoothness which slides into any pocket, pouch or purse. A classy colour palette offers a touch of bo-ho sunrise style (think beachy vibes, Zamas Hotel, Tulum). You may find it hard to believe Wave Cases are not made from polluting plastic!

This time I went for the gorgeous aqua shade . . . . Nice and bright to find when hunting for my phone in large pockets or in a bag!

There are little speckles in the material, an attractive feature for this particular colour calling to mind the beautiful, delicate shells of blackbird’s eggs!

The Wave Case is sturdy yet provides enough give to easily clip around your mobile phone. This flexibility makes it a doddle to push your phone into the moulded case, it slides in so it’s cosy and secure. You’ll find it fits like a glove!

Everything lines up perfectly: the charging port, ‘silencer’ switch, camera and flash are accessible through precise gaps in the case. Even the cover concealing the on/off and volume buttons, which may sometimes be too firm or not adequately aligned, are neatly moulded to ensure optimum use.

A 2mm lip runs all the way around the edge of the phone. This sits neatly, framing the main screen to offer full protection for the edges. If the phone somehow lands face down, the raised lip means the case makes the first impact so your screen should not crack! However, just to be on the safe side, I’d recommend adding a screen protector such as this one made from recycled glass by Wave Case.

Yes. Weighing 30g it’s perhaps not the lightest phone case out there, it does add a little more solidity to your device but feels so goood to hold!

Seemingly smooth in appearance, the case is slightly textured from the patina of the wheat straw. This provides welcome grip to stop your phone from slipping out of your hands or off of the pages of a glossy magazine!

And as a single piece, there is no outer ‘skin’ or layer of the case which could crack, disintegrate or turn brittle on impact from a fall.

There is also an ‘etched’ version available for certain device models, with an attractive engraved appeal. Great if you want that little extra touch of personalisation.

My first case in sunrise yellow certainly protected my phone very well against any bangs and drops. All the corners are fully protected by the Wave Case and I’m sure my new case in exotic, turquoise blue will keep my phone safe and looking A1!

sustainability

Circular Economy : The use of wheat straw is the main selling point of this product. This not only reduces our reliance on plastic but helps to prevent plastic pollution in our seas and oceans and landfills. It’s a far more responsible product than those offered by the top mobile phone manufacturers!

However, no specific details are given as to where Wave Case manufacture their products and the working conditions for those who make them. Manufactured from the versatile bio-plastics PBAT and PLA, it would be good to know more about the manufacturing process to allow for comparison with other eco-friendly cases.

Wave Case has several other sustainable considerations which go a long way to protect our planet!

Packaging : There is none! That’s right, no unnecessary packaging – at all! At first it actually seemed a bit weird to receive the case in a 100% recycled envelope with no . . . . protective sleeve/tissue paper/box/case to first remove and then dispose of. It’s so nice they’ve kept things really simple. And makes a lot more sense! What trend-setters!

Deliveries : Are carbon neutral. Wave Case has teamed up with Climate Partner to calculate the Co2 produced from shipping each order. This is then offset by supporting Plastic Bank to assist in ocean clean ups. So far, over 2,000 kg of Carbon Dioxide has been offset!

1% : As members of the 1% For The Planet scheme, 1% of Wave Case’s sales are donated to environmental non-profit charities. Customers are therefore also helping to protect the environment on a global scale as well as their phones!

Surfers Against Sewage : Proud supporters of Surfers Against Sewage 250, there’s even more reason to praise this wonderful brand and their excellent products! Not only calling plastic polluters to account, but the unforgivable mismanagement of the UK’s water companies.

And . . . if you do require a new case for a new device upgrade you can even return your old Wave Case! How dreamy is that? Old cases are either industrially composted under controlled conditions or recylced into new . . . phone cases! How is that for circular economy?!

So there you sea (!) Wave Case have it all sussed and should be supported in their endeavours to protect our phones and planet!

COST & FURTHER CONSIDERATIONS

At £25 each these cases are not the cheapest, but you can’t really put a price on protecting our seas from plastic pollution!

If you sign up to Wave Case’s friendly newsletters you can receive a 10% discount on your first purchase and look out for the fantastic seasonal promotions they offer now and again!

With so many colourful shades to choose from – some funky floral designs or marbled rainbows too complete the mix – you could purchase a different design for all the family! Select a range of different colours if you have more than one smart phone so you can tell them apart, or a different shades to match your wardrobe!

Wave Case also offers a range of other products :

– try their bio-based charging cables, read my Pendour Purchase Review

– Sustainable Roll-Top Bag

– Air Tag Case

– Water Bottle

There is a minimum spend of £25 for free UK delivery using Royal Mail. In my experience this has been great and very fast! Worldwide shipping is also available for a flat rate of £5 though there may be additional customs charges.

FINAL NOTE

It’s so refreshing to be able to purchase a product that’s used everyday by millions of us which makes such a difference to the environment.

Help to protect our seas and oceans from the scourge of plastic pollution by supporting this small business! Wave Case is a company to look out for and we’re so glad to feature such a great all-round eco-friendly brand on Pendour!

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WANDERLUST : PENDOUR PERFECTION *****

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PENDOUR CULTURE

Linda Bell

Pendour Purchase : The Best Eco-friendly iPhone Charging Cable by Wave Case – Cable C’mon

PENDOUR LIVING, Linda Bell

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01 - 12 - 2403 - 02 - 25

INTO THE LABYRINTH

This is a written response to Steve Joy‘s solo exhibition ‘American Sublime’ at Garden of the Zodiac Gallery, Omaha, NE USA.

The exhibition began on 3rd October 2024 and closed 1st December 2024.

A m e r I c a n

S U B L I M E

I

Carlo Scarpa’s ‘Olivetti Showroom’ in Venice provided welcome shelter for artist Steve Joy as the chilly afternoon rain began to fall. Reflecting the mechanical components of a typewriter, the building’s architectural voids of empty space cocooned Steve’s latest idea – the concept of a new painting.

Angles, atriums, passageways and mezzanines all replete with Scarpa’s signature detailing aided the conception of Steve’s silver hued ‘An Afternoon in Venice, (Olivetti)’. The rhythmic form of the painting’s cubist, sculptural in-out pattern is reminiscent of urban infrastructure. The grooves of the work echo the voids of Scarpa’s design, like the notches of a key, complementary to a lock of the unknown and the unfamiliar.

Shining. Like the weak sunlight trapped within Saint Mark’s Square, raindrops glittering beneath the watchful gaze of Venice’s winged lion.

Meanwhile, the essence of the wild hills and towering castellos further south in Umbria are captured rather serenely in the painting ‘Architecture of Silence (Umbria)’. Radiant stripes and a regal section of magenta become harmonic stanzas to the silvery sections and earth-hued bronzes characterising this stately piece.

We may think of Medieval Icons, simply displayed in the soft hush of Perugia Museum. Aged and cracked. The Medici realm transposed to the time and place of another. The settings of Judea, Gethsemane and Galilee transferred to the manicured pastures of Medieval Italy. In a similar fashion, Steve’s painting transports the emboldened palettes of saints’ robes to a time and place both current and new, past and familiar to retell miraculous stories of Byzantine origin.

The horizontal bands of two-toned marble forming the flying buttresses and architectural supports of the Duoma di Siena find their own contemporary inversion in the stripes of the sunken section in Steve’s ‘Architecture of Silence (Umbria)’. Magnificent medieval architecture is reimagined in oil and gold leaf. This painting is a fitting if somewhat nostalgic response to Steve’s time living in Italy during the late 1980s, admiring the ambitious abstract painters of America from afar.

Located in a quiet, still corner at the back of Garden of the Zodiac Gallery a delicate piece fashioned from three shallow boxes – once lens cases of an unknown optician – floats on the wall as though a pale, soft cloud. Wisps of aqua intersperse the veils of porcelain white and brushed lettering of ‘St Francis of Assisi’, the title of the work. As fresh as a marble altar piece gleaming in a cavernous Basilica, this painting recalls the snowy white feathers of a dove, once preached to by Saint Francis himself.

Italian influences find a new sense of being in Omaha, a city which lies on the same latitude as Rome.

II

‘American Sublime’ may refer to the work of the Hudson Valley School. Painters such as Jasper Francis Copsey (1823 – 1900) and Stanford Robinson Gifford (1823 – 80) created large scale, panoramic landscape paintings to capture the seemingly boundless opportunities of ‘The New World’.

Stretching back to the British tradition of Romantic landscape painting as established by Constable and Turner amongst others, the ‘American Sublime’ not only rendered the grandeur of the native American landscape but suggested a sense of continuity. Principles of European visual culture from the ‘Old World’ could be linked to the frontiers of the ‘New’.

A once ‘unknown’ continent could be depicted so as to feel familiar by employing techniques of classical landscape painting. The use of exquisite luminosity and elegant graduations in light and tone recalled the Arcadian paintings of Claude Lorrain (1600 – 1682). Explorers and god-fearing settlers of this immense new continent could be depicted in paintings of the ‘American Sublime’ as though the heroic Grecian gods of a century before.

America’s pristine views and immense wilderness also enabled painters to blend notions of time with landscape. Past and present could stretch both forwards and backwards in such works, connecting Europe of the ‘past’ to ‘The New World’ of the ‘future’. Expressing national and cultural identity, ‘American Sublime’ paintings ensured self-preservation and engaged strong emotions. Spirituality was seen as enshrined within the natural world, reaching out beyond the seemingly ceaseless horizons to the west.

Described by Immanuel Kant as a ‘sort of tranquility tinged with terror,’ the concept of the ‘American Sublime’ finds contemporary relevance in Steve’s large scale paintings ‘Tlön’, ‘Orbis Tertius’ and ’Garden of Forking Paths’.

Whilst these paintings are titled after the short stories, the ‘Ficciones’, of Jorge Luis Borges (1899-1986) in ‘Labyrinths’, their scale, sense of past merging with present and veil of otherworldliness are akin to the ‘American Sublime’.

III

In ‘Orbis Tertius’, the largest painting in the exhibition, horizontal bands of gold rest along the top of the focal, grid-like structure on canvas. More stripes lead downwards along the the left side of the work, collaborating with those above as though the trunk and overhanging branch of an ancient tree, its bark smoothed and golden in the glimmer of sunset.

Leaning a-symmetrically – simultaneously part of the painting yet also framing ‘Orbis Tertius’ – these zips of gold echo compositional techniques utilised by 19th century ‘American Sublime’ painters.

Literally and figuratively framing the canvas, these stripes of gold border the painterly layers like a crest, or illuminated lettering surrounding a Book of Hours. Steve’s use of gold leaf and varnish is technically inspired by Byzantine Icon paintings.

Glowing, as if to denote sunrise or clouds parting during the hour of sun down, ‘Orbis Tertius’ merges the Eastern shores of the ancient Byzantine world with the historical and ideological frontier of the west.

The central canvas section of the painting unfolds before our eyes, as though a creased map from Lewis’ and Clark’s expedition. Bars of soft blue and deep gold rise and fall. Offering no clear route, are these blocks of colour sign posts as to the way, or obstacles along a mysterious pathway? Mirrored and mazed, our eyes follow these ‘corridors of time’, these ladders and angular roads that fork and split.

A labyrinth of paint. A labyrinth of Time. Sometimes pushed into the background, like the wispy forms of a medieval church mural surrounded by tromp l’oeil, these markings converse with one another. These sensitively painted layers – sometimes rubbed away and brushed over – recall the speckled and fragmented remains of a medieval fresco buried beneath centuries of plaster.

‘Orbis Tertius’ shares its title with that of the ‘provisional title’ of an encyclopaedia. This encyclopaedia details the ‘splendid history’ of an illusionary world – the fabled planet of Tlön – as told in the short story ‘Tlön, Uqbar, Orbis Tertius’ by Borges.

Translated into English, this encyclopaedia was originally written in one of the invented languages of the planet Tlön. In Borges’ short story we as readers are informed by the narrator that the extraordinary undertaking of creating a fabled planet with its own rules, laws, literature and languages took a secret society of intellectuals many years to achieve.

Steve presents us with a possible visualisation of this peculiar encyclopaedia and all its contents in the form of a magnificent abstract painting. We wonder within this subliminal landscape, in the artist’s labyrinth. Like the narrator in ‘The Library of Babylon’ or the dreamer who is a fragment of a dream in ‘The Circular Ruins’ we are caught within the weaving, winding trails of Borges’ imaginings.

Steve’s ‘Orbis Tertius’ is simultaneously an alphabet, a mathematical equation of endless variables and a depiction of an illusionary place, symbolising its history and philosophy. An imagined past of a distant dream merges with the nodes of the present moment. Although features such as a frame bare resemblance to an overhanging tree, the zig-zag contours a maze or the grid of a map, we instead find ourselves within a labyrinth of the sublime.

IV

The calming palette of ‘Tlön’ draws any passer-by in to the gallery from the passageway outside. Minimal and mediative, there is a clear link to the soothing vision of Agnes Martin. Another grid-like form, akin to mysterious runes plotted upon a piece of fabric, inhabit this pink blushed realm. In a similar fashion to Steve’s ‘Orbis Tertius’ painting, oblong marks of gold, white and bronze this time formulate an angular path spreading outwards from the centre of the pink plane. Once again, these markings and pathways control the eye’s route of passage across the lullabying field of pink.

Even the subtle pencil lines echo the early works of Larry Poons. This alternative network is a fainter though no less significant matrix contributing to the overall web of meaning and the labyrinth’s gravity.

A striped edge of white and gold on the left side of the painting becomes a sort of gauge, of distance or time perhaps, or both, or neither, or some other qualifying measurement of Tlön’s being. A striped blind or a curtain pulled away to reveal a portal to another world. This two-tone measuring device offers a sense of proportion to the other linear forms of the work.

Reflecting the tension and complexity of a narrative by Borges, we come to accept the hidden meaning of Steve’s painting.

The existence of the planet of Tlön is justified by Borges in his short story. Through the discovery of a strange compass, books and a bizarre dense metal cone, the world of Tlön is subtly inserted into our ‘own’ world within the story’s narrative. In the same way Steve’s painting radiates an otherworldly energy into ours’.

Could Steve’s painting be a epilogue to Borges’ narrative, a further piece of evidence proving the existence of the apparently illusionary planet of Tlön?

We are transported to a curious dimension where what is real and what is unreal; what is fact and fiction; what has been painted and what has been rubbed away from the surface of the canvas all congruously exist. We fall into and through these many layers of meaning and circumstance as if in a sci-fi film. Our fall is cushioned only by the very existence of this painted labyrinth.

The work’s complementary accents become more than a mere visualisation of an illusionary place. They become the exact and yet approximate world of Tlön itself. A world which exists only in the existence of another. A fictitious labyrinth within a work of fiction. Or a painting within a gallery.

Borges’ Tlön gradually becomes the world and the world gradually becomes the fabled planet of Tlön. As such, we approach Steve’s painting with a sense of the Sublime. In the calm tranquility of acceptance and the metaphysical terror of intrusion from an otherworldly dimension, we receive Steve’s pink-hued painting as a portrayal of the ‘New World’ of our contemporary – and possibility even illusionary – age.

V

Curves and angles perform a choreographed dance both ascending and descending along the central axis of the painting ‘Garden of Forking Paths’. Lines and parabolas echo the brick archways of the Gallery space.

Steve began this painting following a trip to the railroad town of McCook in western Nebraska. The influence of the region’s green corn fields is evident in the soft toned palette and columnar format of the work, reflecting the rows and rows of vertically growing stalks in the American Midwest. A landscape of the Sublime.

Reflecting the mechanics of an unknown object, such as the ribbons of an Olivetti typewriter, the work even calls to mind the pillars and archways of a viaduct. The engineering wonders of the railway swiftly and radically transformed American life. A more connected and accessible ‘New World’ is perhaps represented by the columns and curves of a railroad swooping across a vast plain, possibly symbolised in the green backdrop of the painting. Echoing established conformities of the ‘American Sublime’ and the influence of earlier artists such as Claude Lorrain, the constructed yet fragmented feel of Steve’s painting may even recall the ancient Roman Aqueducts found across Italy and the rest of Europe.

Dappled, like soft rays floating in through a stained glass window, the overall feel of the piece is delicate and mysterious. Gold lines frame the left side of the work; this is repeated on the right, though no enclosure is constructed. The lines are left open as though an entry way on an architectural plan. These partial borders, reflected in the painting ‘Orbis Tertius’ almost enable ‘Garden of Forking Paths’ to take on the form of a modernist style window. A window of a Scarpa design, overlooking a garden home to paths that twist and fork.

Borges’ short story The Garden of Forking Paths tells of a secret agent’s last hours as he fulfils an assassination mission. Full of suspense and drama, the short story plays out almost like a thriller, the hunter becoming the hunted.

The narrator discovers his target, Albert, lives in a Garden constructed by his own ancestor, Ts’ui Pên. Albert reveals Ts’ui Pên’s perplexing compositions – a circular book and maze. Yet the twist in this story is that the book and the maze are one and the same. The first page of the book is the same as the last page, making Ts’ui Pên’s book as chaotic and complicated as a maze. This incomplete but not false image of the universe is imagined and visualised by Steve in this painting.

The diverting lines and painted lanes of Steve’s ‘Garden of Forking Paths’ take on a more complex meaning. Each mark may represent a divulging future, a universe splitting at a particular time as a choice is made or an event occurs. Therefore, it is a painting representing variations of shifting timelines. Yet, here, as with Ts’ui Pên’s circular book, the forking paths represent the idea that every single option in a given moment occurs, leading to the generation of new paths that fork themselves. . .

Within this sublime view – whether from a window, or the pages of a circular book – is a lost maze of time. Rivers, provinces and kingdoms may be discovered within this painted velvet. Flooded, washed away and rebuilt, great landscapes of continents and sublime mountain ranges within gardens all reside within this painted construction. An infinite labyrinth engineered to spread between the future and past, reaching beyond the stars. A universe within a maze within a garden.

Just how the answer to Ts’ui Pên’s perplexing compositions are revealed in Borges’ short story in the danger of a secret mission, Steve presents us with an idea of sublime grandeur. We are presented with the very notion of something being beyond our control. Across centuries and centuries events only happen in the present moment, just as ‘Garden of Forking Paths’ finds itself inside a gallery with a garden – the Garden of the Zodiac Gallery.

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09 - 10 - 2409 - 10 - 24

‘ ATCG ‘ – Artistry, Time, Colour, Gold

‘ATCG’ is a four part piece of writing about the work of abstract painter Steve Joy. Linda Bell was invited to share her thoughts on Steve’s work as part of the ‘Seasons’ exhibition at Maple Street Construct in Omaha, Nebraska USA.

The four sections of ‘ATCG’ represent the four Seasons, the four points of the compass and the four base pairs of DNA.

The exhibition at Maple Street Construct will continue until 1st December 2024.

- A -

A r t i s t r y

The life of an artist can often be a convoluted one. We need only to look upon Zola’s novel ‘L’Oeuvre’ (The Masterpiece) to appreciate the sacrifice and devotion required to satisfy the muse. That, and to scale the lofty heights of the seemingly ungraspable realisation of artistic vision.

From serving in Britain’s Royal Air Force, flying from far-flung locations, such as Addu Atoll in the Maldives, Singapore and Cyprus, to competing at the Common Wealth Games as a track cyclist, the life lived by that of abstract painter Steve Joy has involved many chapters.

Whilst on leave in Amsterdam, Steve experienced an exhibition of Barnett Newman’s striped paintings. This in part inspired Steve to become an artist and to follow in the footsteps of those such as Agnes Martin, with her delicate colour palette, sense of divine simplicity and steadfast approach to artistry.

Despite the risks associated with being an artist: financial insecurity, intermittent recognition within the artworld itself, the notion of existing at the very edge of society and orbiting its endless margins, Steve embarked on seven years of intense study. From the UK’s Cardiff, Exeter and Chelsea Schools of Art to receiving a Cheltenham Scholarship, Steve was awarded a Monbusho Fellowship and exchanged stable representation with the Lisson Gallery for an opportunity to study in Kyoto, Japan.

Early exhibitions saw Steve display his Sunstone paintings alongside work by Andy Goldsworthy at the Serpentine Gallery in London. However, the fashion for minimal painting encouraged Steve to forge an alternative path. A path leading to deep investigation of visual culture from the past to imbue his work with layers of contemporary and historical references.

A sort of Grand Tour entailed. Steve lived in Italy; Bruges, Barcelona as well as Scandinavia where he taught as a professor and department head in both Trondheim and Bergen Academies of Arts, and then as a Professor at the Ecole des Beaux Arts in Caen, France.

Each location offered Steve the opportunity to experience the great art and architecture of the Byzantine Age and Medieval Realms – windows into a pre-renaissance world – in person. Regular exhibitions at Galerie Storrer in Zurich along with Museum shows in Norway ensured Steve continued to develop his work within the shifting frameworks of contemporary cultural perspectives throughout these many relocations.

Arriving in the United States to be a Guest Curator at the Bemis provided Steve with the support and patronage to further his practice, with time also spent in New York through association with Ruth Siegal Gallery.

For the last 20 years or so, Steve has been based in Omaha, his Icon-inspired paintings well known throughout the mid-west and beyond, featuring in Collections such as the NYC Public Library, the Phillip Shrager Collection, the United States National Collection in Washington D.C., the Joslyn Museum,the Orpheum Opera House and HDR.

With the major retrospective exhibition ‘Uncreated Light’ hosted at the Joslyn Museum in 2008 and a 10 year survey organised at Sioux City Art Centre in 2018, Steve has also exhibited at the Willa Catha Foundation and the Art Bank in McCook. ‘Seasons’ is his second show here at Maple Street Construct.

Creativity is innovation and Steve has always been pushing the boundaries of what a painting is and should be. And to that end what it means to be an artist during the Anthropocene and the age of A.I. Steve’s abstract works trace their origins back towards the crux of ancient civilisations, exploring the value of our human history and fulfilling the artist’s responsibility: to invite us to look afresh and discover a deeper meaning to the stories of the past.

- t -

T I M E

An insect crawls across the expanse of a shiny green leaf.

Someone leaps into the inky waters of a lake.

Sheaves of golden grains whisper, dancing in the breeze.

A grey pebble swoops down the side of a cliff to rest upon a ledge for a million years.

Four seasons. Four compass points. Four classical elements. Four base pairs of DNA. Across four decades Steve has practiced and taught the alchemy of Art.

Each of the four different coloured panels of ‘The Seasons’ not only represent the quarterly changes punctuating the annual climatic cycle, but may embody four different places in which the artist has lived and worked. Distinct locations may be suggested by the tones of soft green, warm yellow ochre, cool slate and thunderstorm blue hue. Heading East, from the American Midwest to the UK, on to Norway and south towards the Mediterranean, each coloured panel suggests the passing of time as defined by different geographical regions.

‘The Seasons’ can be interpreted as a record of the artists’ own movements through Time and Space, across Oceans and Continents, a transnational appeal from a lifetime of travel and search. Yet these records, akin to layers of rock strata, equally exist in the present moment and reach back through Time to the once-present ‘Now’.

Like a quartet of Neolithic stelae – inscribed with hand carved messages and whittled down over centuries to smooth, even frail flatness – or mysterious Celtic standing stones indicating the passage of the firmament’s astral beings – the harmonious composition of four panels gives the impression of musical notes set to the grid-like lines of a stave.

Interspersed with the promise of a golden half-silence, a bass drone, or a spinal chord of gold – a connective hinge of threaded light – these gaps, or margins, offer a rhythmic pattern. A bridge between different shades of verses. As regularly spaced as a metronome’s even swing, these golden sections traverse the close distance between these separate components marking time and space.

With our ability to see only the effects of time, such as cracks gathering in the varnish of a thirteenth century Icon painting, could Steve’s ‘The Seasons’ be a way to visualise what we cannot see – the ‘Fourth Dimension’ of Time?

Steve’s signature stripes and squares are reduced to singular blocks of colour, the underlayers of Cubism, or the rules of a coded pattern. A pattern reflecting the structure of DNA as its spiral unwinds for the process of Transcription. Each of the four coloured panels could be considered as representing one of the base pairs of DNA:

– Adenine, frequently represented as ‘A’;

– Thymine or ‘T’ which pairs with A;

– Cytosine, coded as ‘C’ which can form hydrogen bonds with

– ‘G’ or Guanine.

With our contemporary sense of strict order, pixelated imagery and streamed sound, the painting rests like a representation of an unravelled strand of DNA – life’s, and Time’s – rulebook. We are invited by Steve to look and to consider the complex marvel of our own essence.

Meanwhile, The three smaller panels of gold act like the structural phosphate sugar bonds between the base pairs of DNA. Like the rabbit-skin glue of a portrait; the Punctun notes of a Gregorian Chant Notation, or a quantum time-space equation, these clasps of gold fuse the four separate entities together and create meaning within the entropic ether. Sense is drawn from chaos, and truth plucked from the void.

Steve reveals a process of divine geometry, but is it enough to carry the poetry of the passing of Time and the changing Seasons?

In Borges’ short story ‘Tlon, Uqbar, Orbis Tertius’, the imagined country of Uqbar has a history of legends which tell of Tlon, an imagined planet where no sense of past, present or future exists. Only the ‘now’ can be perceived. Books, a compass, coins and a dense metal cone inexplicably materialise in the ‘real’ world of the story’s narrative having broken through from the imaginary planet. The ‘real’ world of the story gradually becomes Tlon itself. Steve’s painting ‘Uqbar’ offers a plausible impression of this fictional country. Just as the strange artefacts from Tlon transcend Time and travel from an imagined past to a pre-conceived future, Steve’s painting of ‘Uqbar’ echoes Borge’s fictitious sense of Timelessness and paradoxically becomes Time itself.

- C -

C o l o u r

Neither stone, nor quite marble, pollen, foliage or rainstorm in tone, the canvas panels of ‘The Seasons’ become foundations, perfectly proportioned rectangles of pure, almost uniform colour inviting us to enter a trance-like state.

Waterbound Blue, Stonebound Grey,

Earthbound Green, Lightbound Yellow.

A colour symbiosis is attained, striking a cool and harmonious neutrality. Steve takes his cue from the early abstract paintings of Brice Marden. We think of Marden’s planes of meditative shades in works such as ‘Nebraska’, Steve’s own expansive investigations into colour a search for meaning from tonality. As such, the very colours of ‘The Seasons’ become a sort of homage, a tribute to the feel and spiritual quality of Marden’s vision.

Even Marden’s technique has been revisited by Steve. A little melted wax was stirred into the wet paint before being brushed and smoothed. See how the wax pools across the surface?

Like the resistance of a drum skin, yet restrained in richness. Evoking the light and classical radiance of a Grecian reverie.

The serenity of the colours in ‘The Seasons’ are contrasted by the tension evoked in the painting ‘Uqbar.’

A field of brown velvet – neither buffalo hide nor cavernous lair – recedes into the background as mysterious and brooding as the aura of an Aztec burial ground or a sacrificial Mayan Temple. You can see the beads of Terpinol, like summer’s dew, its humid breath resting on buds and leaves, or rain spots quivering on a mammal’s fur.

The curves and layered lines of bitumen, copper and silver hover ghost-like, as the gestures of a secret language – perhaps one such as exists in Borges fanciful ‘Tlon’…. Yet this is no random arrangement. Each coloured mark is carefully considered, the tones of brass and reflective shine restrained for an almost hypnotic effect. We may think of the narrator of Borges’ short story: perplexed and even a little disorientated by the discovery of coins, a compass and a metal cone from a so called ‘imaginary’ place.

And that little spot of red!

A reminder of JMW Turner’s antics at the 1832 RA Summer Exhibition. So as not to be ‘upstaged’ by Constable’s scarlet flecked bridge scene, Turner astonished the crowds by adding a bright red buoy to his fresh-toned Helvoetsluys Seascape, entirely altering the work’s perspective. This little daub of red jolts the rich shades of Steve’s picture into focus.

The sumptuous regal red and dazzling gold of ‘Cope Robe (Perugia)’ find their origins in a priest’s vestment Steve saw in an exhibition of sacred textiles in Bern, Switzerland.

Commissioned for St Margaret Mary’s Church in Omaha, the richly textured application of red paint – with a hint of magenta – shimmers like silk. The memory of seeing a religious artefact of the sixteenth Century is transposed into a contemporary work of symbolic spirituality. From the colour of roses, of love, to the shade of blood and sacrifice, the colour red perhaps owes its longstanding appeal in works of art to the early hunter gatherers. From the ceiling of the Red Horses and parietal boars and bison which roam the Cave complex of Altamira in Spain (dating from C. 34,000 BC) to the red rock carvings of Alta in the far north of Norway (created c. 5000 BC) the colour red can be associated with the earliest forms of image making.

In the wittily titled ‘Barbara Hepworth’s Cimabue’ a frame of pastel pink surrounds an ambiguous form as though a slide enveloping a scientific specimen.

When based in Italy, Steve lived not far from Assisi, its Basilica walls adorned with Medieval frescoes by Cimabue and Giotto. Whilst Steve’s pink-burst enclosure calls to mind the crenelated turrets of Giotto’s pink infused castellos and buildings, it also makes reference to Cimabue’s remarkable fresco ‘The Crucifixion of St Paul.’ Depicting the Saint’s upside-down fate, the colours of this fresco in Assisi have faded and disintegrated over the centuries to reveal areas of bare pink-hued plaster beneath.

Steve has inverted Cimabue’s topsy-turvey crucifixion scene so that the cross shape represents a golden plinth, holding up the central canvas insert.

Imbuing the quiet stillness of a Dutch still-life painting, a mysterious form rests in the middle of Steve’s work as though a tactile object laid upon a pink tablecloth. Spilling out around the central motif, Matisse-like, this pink table setting swerves the rules of perspective, the pink expanse stretching back so as to be absorbed by the wall behind. Orange streaks (Schnabel-esque) appear like patterns in the fabric. A painting such as Matisse’s ‘Still Life with Pink Tablecloth’ (1924-5) is brought to mind, the patterns of the cloth even echoing Giotto’s turreted forms in the Assisi frescoes.

Meanwhile, coiling, fossil like, the central form in Steve’s painting can be viewed as an ode to the sculptor Barbara Hepworth; a post-war pioneer of Abstraction, based in St Ives, Cornwall, not far from Steve’s birthplace. Whilst the enigmatic form recalls shells or bones, the ink lines of tension are borrowed from the sculptural forms of Hepworth herself.

Steve’s layers of thin bronze paint echo Cimabue’s ageing frescos; you can see the canvas beneath – like a tear in the fabric of a pink patterned tablecloth.

The force of abstraction bursts through the stucco-like backdrop of pink as through a seismic tremor. We first meet Cimabue in Vasari’s ‘Life of the Painters’ (1550) at a time when all of Italy trembled from earthquakes, just as its historic pink toned buildings have been shaken in more recent years.

Medieval frescoes meet 1920s Provence meets post-war St Ives, meets contemporary Omaha in a pink paradise.

- G -

G O L D

The two mirrored motifs of gold in ‘Cope Robe (Perugia)’ float like hieroglyphics on an ancient Egyptian tablet. Angular with curving bases, the forms appear almost archaic in character, like the cheek guards of a Roman Centurion’s helmet, or the metal remains of a Viking’s shield, exposed in red earth during an archaeological excavation. Symbolic in stature, the two separate forms could even be the insignia of a secret society. There is a suggestion that these two halves of gold are reaching out towards one another, stretching to try and touch; an embrace across a red divide of Time. But could these forms, in their armour-like stance also be seen as majestic wings?

The golden wings of Icharus perhaps?

As in Ovid’s own words of ‘Metamorphosis,’ these heraldic components of gold, shimmering behind layers of varnish, morph into the wings of Daedalus’ invention. Fashioned from feathers and wax, Daedalus devised one pair for himself and one for his son Icharus so that they could fly away to escape captivity.

Consequently, the ink lines in the centre of the pink hued Cimabue painting take on a different role. Daedalus’ creations were supposedly so life-like that they invariably came to life and had to be tied down – the ink lines of ‘Barabara Hepworth’s Cimabue’ could now be seen as lines of entrapment, rather like Gulliver, pinned down by the people of Lulliput. We notice how the abstract form in the centre of Steve’s pink field is so full of life that it has come alive….. And wait, those same diagonal lines appear like tethers, crossing the gold patina of these winged forms too!

Joni Mitchell’s reference to ‘Icarus ascending’ in ‘Amelia’, conjures Icarus’ tragic fall into the depths of the Sea after flying too close to the Sun and joins Cope Robe Perugia in retelling a Greek myth in a contemporary way. Tragedy, desire and hubris are explored through the language of American Abstraction as the soft glow of Byzantium gold embeds another layer of meaning into the work.

Considering Steve’s frequent use of wax in his Icon inspired paintings and in those such as ‘The Seasons’ – not forgetting his own frequent travels – could these even be the wings of the artist himself?

Steve’s own means of escape not to the Sun, or to the blue of the Icarian Sea, or even to the pull of the equator, but an escape from the everyday to discover a new sense of elevated spirituality? The wax of Daedalus’ wings is transformed into gold, into the golden radiance of the Sun itself.

Steve’s use of Japanese gold leaf suspended in time under layers of honey-like varnish does not replace Nature or the Spiritual with the gilded decoration of lavish excess. The material splendour of Steve’s paintings is more akin to the vibrant veils of the Northern Lights, the golden shades of untarnished brilliance – the gold of the night’s sky.

The painted surface is imbued with Nature and Spirituality, the enchanting appeal of the mysterious and the sacred. An access point, a window or a portal to a place of transformation is offered. Whether to the Elysian Fields of the Greek gods, the Vikings’ Valhalla, or the uncreated light of our own dreams and searching, the impossibility of the architecture of flight is tethered and presented to us in the form of a memory of a golden robe.

One of my paintings is also exhibited in ‘Seasons’.

You can view more of my work here.

pENDOUR PICKS

Healing Artworks of the April Sampson Cancer Centre

Pendour Culture – Linda Bell

Heath Hern : ‘By This River’

Solo Exhibition, The Russell Gallery, Putney

Pendour Culture – Linda Bell

Juntar Muntar

Wanderlust – Linda Bell

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07 - 08 - 2410 - 01 - 25

ZAMAS HOTEL, TULUM, MEXICO

If you want to experience the real Tulum,

look no further than Zamas Hotel!

Conceived during a honeymoon romance, Zamas was one of the very first hotels upon these jungle shores. This oasis has welcomed musicians, writers, playwrights, bohemians and artists to its inspirational setting for the past 30 years. Models, techies, ocean-lovers and family groups in search of a peaceful yet chic getaway have all found their place in this luscious hideaway.

Still family-run today, guests return again and again to savour the warm hospitality and sunrise-style décor, easing into the laid-back beachy charm of this little stretch of paradise.

From the moment you step off the road and onto the path flecked with seashells, coral and a dusting of light golden sand, you will notice how Zamas – unlike so many newer developments – have maintained their natural coconut grove, the palms gently swaying above you in rhythm to the ocean shoreline just strides away. Feel the seclusion and tranquillity as they shade your escape to the Tulum of yesteryear – still very much alive!

With no high-risers and minimal use of concrete, Zama’s low density, eco-conscious array of unique beach front cabañas and hand-crafted palapas are a far cry from the recent block-shaped developments that provide a more contemporary experience akin to that of Cancun or Playa del Carmen.

The hip, wave-worn beach essence of Zamas Hotel not only ensures this boho boutique is the coolest waterside hangout in Tulum but provides a reminder of what it really means to come to as special a place as the Mayan Riviera.

Slowly sip your welcome drink as Abigail, Daniel and Fernando check your reservation and ensure you have everything you need. You are part of the Zamas family now! Luggage is whisked via wheelbarrow to your home from home – bordered by jungle plants and delicate bursts of hibiscus flowers.

Born from the twists and folds of natural driftwood and ancient jungle timber, each of the bungalows and cabañas radiate Swiss Family Robinson vibes – the ultimate get away from everyday life. Colourful stucco walls mix with playful tile mosaics in the traditional Mexican manner heightening that cast-away, avant-garde appeal.

This is a symbiosis with Nature. A chance to connect with the ocean and forest. All of the rooms are spacious yet highly intimate and each one a little different from the one next door. Feel cocooned in the Jungle Garden or Coconut Grove Bungalows, or revitalised from a night in the sea-sprayed beach front cabañas. (Wake up and start a dreamy day with a dip!) Stay for longer and try out different rooms to discover which is your personal taste and style!

Every room offers filtered water, a security safe and mosquito nets, spotless white towels and flannels to partner the crisp white sheets of the gloriously cosy beds. Want complete escape from interference of the outside world? The total absence of TV at Zamas is powerful, allowing you to devote every moment of your stay to ‘me’ or ‘us’ time.

Awaken to the glow of sunrise, a gradual crescendo through the soft flowing curtains and white veil of mosquito nets. Even the patterns of bed runners and hand weaved cushion covers compliment the hues of the morning light. Everything is carefully designed and chosen, from a soap rest ledge fashioned from sea-smoothed wood to inventive cupboard latches and curving shelves.

It’s the details that illustrate the love and care

the owners have for this retreat out of time.

Many of the rooms boast sun blushed balconies or shaded terraces, the perfect private space for your stretch routine, personal work-out sesh or pensive pre-desayuno café. Every room comes equipped with a kettle and generous stash of herbal teas, organic coffee and whitener, for a little ‘pick-me-up’ at any time of the day (or night!)

Restless sleeper? Star gazing is highly recommended from the timeless, round-backed Zamas chairs which characterise your exclusive outside space. You’ll notice how the celestial star-speckled heavens are that much more enchanting in Tulum.

Connect to high-speed Wi-Fi – yes, even in the jungle (!) – as each room has its own network, along with deeply cooling AC to help you acclimatise to the humidity during those hot-season dazes!

All of these modern amenities in no way detract from the originality of the Zamas vision. The thoughtfully orchestrated blend of natural materials still closely resembles the Tulum experience before the blitz of concrete construction, the authentic hippy groove has not yet been completely lost.

Shower with the windows open wide – there are no neighbours – only rustling jungle with the delightful call of birdsong. Lather Zama’s honey bee shower gel, shampoos and conditioner before softening your skin with the delightful lemon and lime moisturiser after a day hitting the waves (or tequila!).

Immaculately cleaned each day by the most attentive of staff, every grain of sand (you will get sand between your toes in Tulum – trust!) is swept, the bed smoothed and beautified for afternoon daydreams and heady siestas. . . .

Idle away the hours. . . . Relax and sway in one of the colourful hammocks outside your room. Feeling hungry? Then head over to the restaurant!

Fringed with greenery and a craggy outcrop, the open sides of the restaurant palapa not only woo the sea breezes, but offer exquisite, unforgettable ocean views. The Zamas restaurant is like no other.

From avo sourdough toast to yogurt and fresh fruit with Mexican honey, eggs your style to bottomless coffee and even zingy mimosas, Zamas is the place to start your day!

The soft silky sand floor of the restaurant holds sway – one of the last few remaining along these shores. You’ll feel oh so at home. Kick back your shoes and enjoy a blissful barefoot breakfast like a true contemporary cast away. You will barely wear shoes during your stay here!

With chill mellow music playing, the restaurant is the place to be seen with your newfound Tulum tan and the social hub of this tropical escape. Read a book; get to know fellow guests and compare notes on where to visit; chat with Zamas’ friendly staff (you’ll know them all by name by the end of your stay!); sip a freshly harvested coconut or take pics for your social profiles from Zamas’ iconic colourful tables and chairs.

With table footie and more seating inside, you can also brush up your Español from the multi-lingual library or sit in the cool shade of the bar, surrounded by mural paintings and impressive sea-combed finds.

Time changes at Zamas. Embrace the pace. Watch the clouds drift by and the waves roll in. Their mesmerising pull is hypnotic to the eye as you ponder your menu choice. With a range of curated cocktails (don’t miss the cayenne punch of Celosa), national beers, tequilas and mezcals, refreshing hibiscus and pineapple coolers, you’re spoilt for choice! Enjoy yours from the restaurant or from the cover of a beach palapa, just tip-toes away.

The crescent-shaped beach is a bit unusual and so special to this area, a real picture postcard. And last year home to 27 turtle nests with several hundred baby turtles starting their life here at Zamas. The restaurant’s sunrise-coloured chairs and shaggy grass roof look even more exotic when viewed across the azul surf. A few rocky patches mean it’s easiest to get in and out for a swim at the far end, before a popular spot where local families take to the waves and enjoy their well-deserved down time, meaning Zamas’ stretch of beach retains that all important true Tulum experience.

Plentiful loungers and chairs provide table space for that Happy Hour spritz (from 3 – 6 pm . . . why limit to one hour when you can have three?!) meaning you’ll never have to rush or reserve! Solely for the pleasure of hotel guests, you can take up your beachfront position for some serious swimming and waterside wonderment at your leisure.

And with the Mexi Divers school next door, its easy-peasy to organise a watery excursion to the reef or further a-wave if you’re feeling adventurous!

If you’re an early riser, don’t miss the breathtaking sunrise, the yellow red glow of the sun coming into focus on the blue horizon line across the water. Inspired by the Mayan word for sunrise, ‘Zamas’ reflects the excitement of another day in paradise through the choreography of colourful design.

Spot the timid iguanas, scurrying squirrels, graceful butterflies and chit-chacks. You may also be lucky to catch a twilight glimpse of a bat. From the restaurant, marvel at the acrobatic prowess of the local pelican squadrons, skilfully diving to catch their fish. Embrace the laid back jungle-y vibe and appreciate the simpler things in life.

And talking of fish… The afternoon Restaurant menu features hearty ceviche and a range of tacos, from super fresh pescado to small-farmed chicken. Spice up your Playa salad with a serving of Sikil Pak and tasty hummus with fresh jungle veg croutons of shapes, colours and tastes you can’t get back home!

Cool off from the afternoon heat in the Zamas swimming pool. Located in a quiet corner of the Jungle Garden, the pool is exclusively for hotel guests. Emerge from the cooling waters to the colourful poolside lined with murals, loungers and the classic z-chairs, all shaded by the sway of palms for a glass of punchy Celosa, with or without the Mezcal – both hit the spot! Order drinks and snacks poolside or in the cool and quiet of your room from the QR codes at each location.

Thinking of heading to Tulum as a large group? Or even hosting a beautiful beachside wedding? Are you looking for a photoshoot location? Consider booking out Casa Vallejo with its imaginative, unique design for your celebration or gathering. Featuring its own secluded garden, yoga space, and sumptuous en suite rooms, the Zamas villa comes with its own pool and is located just across the road from the beach. Step into this playfully decorated abode for a truly memorable experience!

And for a special event? Treat your clients, team or patrons to a bespoke soirée. The expertise of the event staff will ensure your entourage experience the magic of Zamas, whether you’re planning a full on party or have something else in mind. . .

Whatsapp is a favourite here at Zamas and so you can easily contact Reception for anything even if you’re out of phone signal in Mexico. Fancy a yoga class or deep tissue massage to get over your flight? Not sure about a ride back to the airport? The Front Desk can arrange all of this at your request, nothing is too much trouble.

With Alfonso to help guests cross the road should the traffic become a tad busy, there is also designated parking available for guests and restaurant patrons. The watchful gaze of the nighttime security staff means you can relax and unwind and not worry about a thing!

As the soothing dark of night comes to the fore, candles glint and glimmer on the Zamas restaurant tables in Victoriana style lanterns. Savour the delightful evening flavours freshly prepared by the restaurant team.

The romantic hot spot for an ocean view dinner, your every wish is accommodated by Zamas’ attentive waiting staff. Dine barefoot on a range of scrummy Mexican dishes under the moon and stars. From the pineapple jams to nutritious chaya, each ingredient is carefully sourced to bring guests the pure clean flavours of Mexico – and probably the creamiest guacamole in all of Quintana Roo! And if you like meat.. don’t miss the Dannyburger, honouring Zama’s founding father (now a grandfather!). Round it all off with another cheeky Tibble, or for something sweet there’s banana supreme, vanilla ice cream and divine chocolate cake, you’ve got to sample them all!

As the moon rises, and sleepiness sets in, laze beneath the palapa-crowned roof of your jungle or beach abode and drift off to sleep. You’ll be accompanied by the nocturnal symphony of the rustling trees and percussive beat of the rolling waves ‘till sunrise.

PENDOUR PICKS

Pendour Picks For Visiting Pushkar

Linda Bell

Pink Paradise : A Quick Guide for Visiting Jaipur

Linda Bell

‘Into The Labyrinth’ : Steve Joy Solo Exhibition ‘American Sublime’

Garden of the Zodiac Gallery, Omaha

Instagram

06 - 08 - 2406 - 08 - 24

HEALING ARTWORKS OF THE APRIL SAMPSON CANCER CENTRE

A NEW APPROACH

What do we think of when we consider the healing power of hospitals?

We may reflect on the care and comfort offered by doctors, the attentive nurses and helpful staff; their understanding and expertise as we place our trust in their hands.

But what about the hospital environment itself? The very walls and windows, corridors and waiting rooms where treatment is administered and the path to recovery and healing begins?

What if the very setting of a hospital could help facilitate the all too often long and challenging journey along that path? What if art and a connection with Nature – aids to contemplation of the miraculous and the invisible – could be instrumental supports along the path to healing?

In Lincoln Nebraska, the April Sampson Cancer Centre recently opened its doors, welcoming patients and their loved ones to an innovative setting, quite unlike any other. All treatment stages from diagnosis to rehabilitation are streamlined and personalised, consolidated under one roof as opposed to fragmented across numerous separate facilities. The Centre’s integration of the Healing Arts and multi-disciplinary approach ensures for enhanced wellbeing and moments of sensitive, spiritual awakening.

The 140,000 square foot facility, which has been named after April Sampson, a local entrepreneur who lost her life to cancer, is built on 28 acres to the south of Lincoln gifted by her family. Offering cutting edge technology and highly advanced treatment options, the Centre also provides patients and their families with support to navigate all that cancer care involves from the meditation and multi-faith chapel to the café, spa and rehabilitation therapy studio.

Led by Doctor Mark Stevas, a Radiologist and Oncology specialist from Lincoln, the project took over six years to come to fruition. A keen guitar player, Dr Stevas has produced several films for Pallidocs demonstrating the importance of the Healing Arts for the personal wellbeing of those who are receiving end of life care in their fight against cancer.

THE SETTING

The Centre’s low-lying, sweeping silhouette follows the typography of the local landscape. Whilst the entrance façade blends in with the gentle rolling hills of the surrounding geography, the inside boasts expansive walls of glass, across two storeys in some places. This maximises the panoramic views of the Nebraskan sky and Great Plains. The site’s pond, meadow glades and forest groves integrate with the inside, providing a deep visual connection with Nature. Geese, ducks, birds and the occasional cow inhabit this seasonally changing picture plane.

Ballinger’s eloquent architecture is reminiscent of Le Corbusier. An emphasised overhang not only shades treatment rooms from bright sunlight but offers a sophisticated and contemporary feel. Met with views of the tranquil scenery even from the entrance foyer, a splice of skylights running along a seam in the ceiling draws attention to the grand descending staircase and vistas beyond. ‘There is a crack in everything’ and this symbolic fissure certainly allows the light in.

Designed from the perspective with the patients’ and care providers’ needs in mind, many areas are bathed in natural sunlight whilst the flowing, almost ‘open plan’ feel means that navigating between the designated areas elevates the patient experience.

THE ART OF GENEROSITY

With artworks by over 16 artists spread throughout the Centre – there is yet more to come as the Healing Gardens with sculptures are developed – the generosity of local donors and sponsors is evident. Whilst many donated artworks have been acquired on a commission basis and carefully curated, other pieces have been bequeathed by the artists themselves, all serving to create a unique and moving setting. Colour, texture, materiality and visual sublimity coalesce to provide inspiration and positivity for the hospital’s staff and strength, contemplation and hope to patients and their loved ones.

GREAT MINIATURES

The delicate and extraordinary detailed graphite drawings of Lincoln-based Francisco Souto grace the walls of the waiting room area. His ‘Poetics of Recognition’ respond to the experience of living in the middle of the Great Plains. The vastness of sky and distant horizon are captured and become intimate; the individual trees, grain silos and barns are rendered with enticing detail from restrained observation. Framed within stripes of colourful air-brushed precision, the minute scale of Souto’s ‘Great Plainscapes’ humbly embed themselves within the mind’s eye, furthering the Centre’s connection to the surrounding environment.

CORNFIELDS AND CANVAS

Souto’s ‘Poetics of Recognition’ are accompanied in the entrance area by Omaha artist Thomas Prinz’s ‘Platte River Valley.’ Soothing stripes of yellow and blue are based on photographs of nearby cornfields. Fields of colour and texture are segmented with crisp outlines and dividing passages. The artist has fused photographs of the region’s landscape with the aesthetic appeal of the edges of paintings layered up one on top of another. Sculpturally stacked, the canvas flanks reveal the accidental: the unexpected overspills, barely-there details and drips of the painting process. Digitalised and colour edited, the images have been torn by hand into delicate strips. These ribbons of colour have been collaged and composed in a vertical arrangement in an all-over mode, the original images fragmented and reassembled, made anew in to a hybrid state.

Overlapped and layered, the hidden and the concealed is only glimpsed through the bars of the foreground, what is ‘seen’ and effectively ‘unseen’ recedes and emerges, the bands of lemon yellow interspersed with white and orange against the watery blue.

Reminiscent of SMPTE colour test patterns, once used for adjusting the focus, tuning, shading and curvature of an analogue picture – Tom’s bands of colour perhaps share an affinity with the reassurance of such organised structure, yet seek to reflect the essence and spirit of place. Softening and welcoming, the work provides a therapeutic quality, almost meditative in aura.

WRINKLED MIRROR

Upon reaching the twist of the great descending staircase on route to the rehabilitation area, one is not only met with the impressive views of the Midwestern landscape, but a horizontal band of crumpled, shining silver, split into three separate panels almost floating across the entire span of the wall.

Although at first glance this may appear to be a fragment of an Apollo spacecraft, it is in fact a ‘Wrinkled Mirror,’ the sleek, incidental work of Christopher Prinz. A graduate of Rhode Island School of Design, Chris’ oeuvre ranges from furniture to chandeliers and can be found in major fashion house showrooms, his luxury-meets-semi-industrial-style favoured by the likes of Louis Vuitton.

A spider’s web of criss-crossing fold lines force the sheet of aluminium away from the 2D flatness of a traditional wall piece and into the 3D realms of the sculptural and the physical. Lunar-like, the piece has an otherworldly, dreamscape presence, the wrinkles formed from the smoothness of the metal like crinkles in newly washed sheets or the creases of unmade bed linens. The silvery shade of raw, untreated aluminium takes on a moon like quality, heightening an aesthetic similarity to DuPont’s Kapton Foil.

Celebrated for its thermal protection qualities, Kapton Foil has been an essential ingredient for space exploration since the Apollo 11 Missions. Utilised in the thermal shielding of astronauts’ space suits, the durability of Kapton Foil has been integral to survival in the harsh conditions of outer Space. With an ability to withstand temperatures from -269°C (-452°F) to 400°C (752°F), the aluminumized polyimide has enabled exploration into unchartered territories. ‘Wrinkled Mirror’ therefore encourages patients to consider their own personal journey into the unknown and the uncertain from a new perspective; an exploration into their own vast sense of being so as to find a way to sustain the difficulties of a diagnosis.

We fight the irresistible urge to touch Chris’ handiwork. To push out all of the folds and smooth them flat, as though the artwork were a larger-than-life piece of tinfoil, characterised with ghostly traces of former crumpling, just as a Medieval fresco is veined by scattered surface cracks.

In the same way that crinkly space blankets are used to retain heat in athlete’s bodies we perhaps re-imagine the work as a sort of protective blanket; it seems desirable to wrap up, shelter and comfort all who pass through the Centre for treatment in a blanket formed from a flattened, as-yet-uncreated version of ‘Wrinkled Mirror.’

Not only protecting Space explorers from the extremes of heat, Kapton Foil maximises radiation reflection, meaning Chris’ artwork holds a specific poignancy as a work of art commissioned for and installed within an oncology setting.

The silver front and gold backing of Kapton Foil which coats Space capsules usually disintegrates upon re-entry to the Earth’s orbit. Small fragments are collected by recovery crew as momentous, souvenirs as reminders of human ingenuity and bravery. ‘Wrinkled Mirror’ perhaps shares an affinity with this and the desire to cling on to what has saved and protected life out in the unknown.

Split into three smaller sections, the folds have been painstakingly mirrored across the divide. A single wrinkle can be followed from the left panel on to the central one, just as a crease on the far right panel can be traced back to the central section. Endless reflections bounce off from this multi-faceted surface. From the water ripples skimming the silvery lake opposite to the red glow of the Exit signs above, Chris’s Mirror provides a unique reflection of the April Sampson Centre’s interior and surroundings.

Whilst the piece both reflects and generates a fragmented version of the landscape view, the piece is a landscape within itself. The bent and creased sections form valleys and troughs, mountain peaks and cirques, in which the mind can hike and wander, as if in a mountain range or maze. A connection, perhaps, to the artist’s own enjoyment of the outdoors and sense of adventure.

As we study these gorges and crevasses, our own reflections are also captured in this lunar-esque landscape. A little like a Francis Bacon portrait, our faces and bodies appear repeated and contoured. The crinkles and creases of ‘Wrinkled Mirror,’ may even be related to the complex, symbolic patterns of unearthed Bronze Age burial or ritual mirrors, such as the Desborough and Portesham Mirrors (c. 50BCE, 1ADE). Prized for their reflective qualities at a time when only water revealed a glimpse of what one looked like, it is thought that such hand-held mirrors enabled communication with the deceased and offered connection between the physical and spiritual worlds.

Chris’ contemporary ‘Wrinkled Mirror’ therefore provides an opportunity to look beyond the Self to Space exploration, human ingenuity and spiritual rituals of the past. The infinite reflections offered by this Mirror invite viewers to look afresh at a certain situation – to see what is beyond the wrinkled crumples on the surface – and find deeper meaning from a new perspective.

Earthline

The majestic red and gold glow of Steve Joy’s ‘Earthline’ has a magnetic presence. Installed along the main corridor stretching between treatment zones, the opulent and powerful palette attracts our gaze. Cloaked in gold and silver leaf veiled behind layers of shellac varnish, the physicality of the artwork enables viewers to enter an ethereal place.

Reaching backwards through the centuries, to the time of Byzantine principles of image making, ‘Earthline’ takes its lead from the sacred function of Medieval Icon painting and the pre-invention of perspective prior to the Renaissance.

‘Earthline’ offers a contemporary interpretation on the sacred art form of early Icon paintings. Marrying traditional, sustainable materials such as wood, gold leaf, beeswax, inks and shellac varnishes with visual concepts of the contemporary age, Steve’s painting is a feast for the eyes and a tonic for the heart. Repeated colours and gloss-like textures provide moments for the eye to linger and get lost in.

We may think of stories such as the Icon of Panagia Hozoviotissa. Invasions in the Middle East in the eighth century meant
that this precious Icon had to be saved by being floated out in an unmanned boat into the unknown waters of the Mediterranean Sea. The Icon eventually made landfall on the Greek Island of Amorgos, where a Monastery, dating from the eleventh century, has been carved into a cave on a precarious cliff face in recognition of the Icon’s new beginning in a new place. Steve’s ‘Earthline’ recalls the divine mystery of such events.

The artist masterfully fuses Religious Eastern European visual culture with the full force of ambitious American Abstraction. The ‘human’ scale of a traditional Icon painting has evolved and developed into the proportions of an entire church nave whilst the Byzantine resemblance of saints has been purified through abstraction into blocks of colour and texture. The individual identities of saints are transposed into universally aesthetic bands of gold and mineral based paint. Squares and stripes of earthy, terrain-hued browns bleed into the reds of roses and papal garments to accompany the golden light of the eastern Byzantine sunrise.

Falling almost like a curtain, a drape with an architectural nature, the painting offers a diffused, comforting glow, like a candle on a banquet table and even at nighttime gives out light. Through contemplative looking and thoughtful engagement, spiritual transformation is offered alongside an immense feeling of timelessness between past and present and East and (Mid)West.

Based between Omaha, Long Island and Plymouth UK, Steve Joy has exhibited his mesmerising paintings in notable museums and galleries throughout Europe and the USA. Worldwide travels to exotic, far-flung locations serving in the Royal Air Force and in search for inspiration as an artist influence the concept of many of Steve’s pieces.

Whilst the vertical pattern of ‘Earthline’ evokes the longitudinal lines of an Atlas, the modular composition of separate wooden panels is suggestive of an expanding horizon line, the span betwixt each module existing as though a gravitational force holds each section in place. The relationship between the ‘present’ and ‘absent’ areas of the painting become the solid columns and soaring archways of Gothic Cathedrals, inviting our consciousness to pass across a symbolic transept and to explore a new experience.

Strength and modernity are found in this vertical pattern. Whilst the tall red and gold stripes emerge like skyscrapers rising above a city skyline, the traditional boxy, red-brick architecture of the American Midwest is perhaps signified by the smaller segmented squares of honey, silver and flashes of cornfield green.

The ‘dropped’ section of stripes not only augment the uniformity of the painting’s base line but mean the work exceeds the usual boundaries of a rectangular painting. Behaving as a lower mordent in a musical phrase, this sudden yet necessary feature heightens the sculptural tonality of the piece, disrupting the painting’s horizon line.

Like a ‘call and response’ – a question called into the void answered after a slight pause with the clarity of ‘gold, red? – taupe – gold – red – gold,’ the work forms a secret code of communication. But how should we decipher such a code?

Viewed in its entirety across the corridor, ‘Earthline’ shares an affinity with the visualisation of DNA genetic code. Recalling the stripey pattern of a karyogram where G- and R- banding techniques enable specific genes on a chromosome to be mapped out and located, the pull between dark and light, earth and gold, presence and absence, form the base pairs of this work’s phenotype. Only this painted form of cytogenic mapping enables viewers to consider the miracle of DNA and our very existence in an emotional and universal way.

Just how a mutation along a the stripe of a particular gene sparks the process of biological evolution, Steve’s signature style of working is a unique specimen in the trajectory of painting; ‘Earthline’ therefore becomes a fitting work of art for a Healing and Recovery Centre.

ART ALCOVES

Dotted further along the central axis corridor are several ‘art alcoves’ where framed pieces by Tom Prinz and Mike Nesbit are displayed. Comfortable seating and living plants mean that these alcoves become quiet reflective spaces for introspection and contemplation, cocooned from the passing footfall of the Centre’s central hallway.

WEST MEETS MID-WEST

Based between Omaha and LA, Mike Nesbit is a co-founder of Maple Street Construct and pieces from his colourful series ‘Highland at Noon’ punctuate the walls of these restful alcove spaces with welcome pops of pure colour.

Echoing the energetic brushstrokes of action painting, bursts of sunshine yellow merge into hazes of cobalt blue as drifts of pink mingle with refreshing tones of turquoise as if engaged in a choreographed dance. Only unmixed, primary colours of each shade have been used based on the contrasting subtraction and addition properties of CYMK (Cyan, Yellow, Magenta, Black) and RYB (Red, Yellow, Blue) colour systems.

Infused with touches of silver leaf, echoing the sheen of Chris’ ‘Wrinkled Mirror,’ the clouds of colour are interlaced with lattices of grid references. These stretch the length and breadth of the pieces and criss-cross the conceptual colour palette of the screen-printing process. Whilst these lines may appear to find their traces in the artist’s background as a qualified architect, they are in fact based on satellite images of LA and Omaha.

In contrast to the cosmopolitan cityscape of LA, Omaha’s suburban identity in the centre of the United States features cornfields and greenery. Whilst the title of the series refers to Highland Park in LA, the time of 12 noon adds a narrative element of high sun, shadow lines and even human activity. The formal lines and shapes generated by the satellite images physically represent the similarities and differences of these two cities in the context of the twenty first century.

In the setting of the April Sampson Cancer Centre, the idea of place and time becomes both transcendental and pragmatic. Mike’s series of colourful works not only brighten and lift the mood of the Centre, but act as gateways and bridges from one time and place to the specific time, place and ambience of another.

GIOTTO BLUE

Upon exit of the main treatment area patients directly face one of the ‘art alcoves’, the B alcove for blue. Giotto blue.

Imbued with a chapel-like quality, Tom Prinz, Steve Joy and Mike Nesbit collaborated on the theme and final impression of this secluded space. Inspired by Giotto di Bondonne’s (1267 – 1337) frescoes in the Arena Chapel in Padua, Italy, the use of blue and its psychological healing properties influenced the three artists’ holistic approach.

Built on a former Roman Amphitheatre, the ‘Giotto Chapel’ was commissioned by the Scrovegni family as an annex to their palace (destroyed 1827) for absolution from the sin of usury and still stands today. The brilliant blue interior was completed by Giotto and his assistants between 1303 and 1305. Depicting a cycle of 36 scenes from the life and passion of Christ and the virgin Mary, each spellbinding fresco is bordered by impressive imitation mosaic trompe-l’oeil. Completely covering the walls and extending up to the ceiling – a starry firmament of royal blue – the chapel is a testament to Giotto’s revolutionary painting style.

Floating angels are joined by the mother of Christ and hovering prophets in circular rondos to watch over the sophisticated chronicles of Giotto’s invention. High above in the lofty realms of the chapel’s barrel-vaulted ceiling, their haloes glint against the rich sky of ultramarine blue.

Just as Giotto’s illusionistic storytelling style – displaying previously unknown theatrical tension and skilful depiction of the infinite emotions expressed by Man – demonstrates how a celestial vision can be implanted into the earthly planes of the everyday, the artworks of the B Alcove form a portal, transporting viewers to an alternative time and place. An alternative time and place of abundant sustenance, empowerment and wisdom. A place outside of the challenges of the present moment.

Perhaps most closely aligned to the idea of the chapel’s overall structure and feel is Tom Prinz’s ‘Giotto’ inscribed print. Delicate shades of blue waft like uncatchable air, reminiscent in tone of fresh tempera soaking into wet plaster. Yet, this work of art is ink printed onto paper, a contemporary use of technology and materials, almost an extension to Giotto’s own ground breaking introduction of perspective and intricate details.

Tom’s incidental lines, vertical stripes and touches of yellow reflect how Giotto’s frescoes are full of subtle nuances and astounding detail. For example, even the delicate faces of women half-hidden behind wispy, see-through veils are masterfully rendered in Giotto’s creation. Within the blue haze of Tom’s artwork you can just spot the name ‘Giotto’ written in a fine script as a homage to the Medieval painter’s vision.

Tom picks up the thread – literally – of the materials rendered by Giotto: the robes replete with detailed cuffs and hems worn by the faithful; the soft-looking blankets covering seats and beds and even the fine threads spun by a young woman in the Annunciation Scene are all echoed in Tom’s use of physical white fibre, gracefully adding to the collaged texture of the piece in ‘running-stitches’. The painting sphere of the illusioned and the imagined has been physically pierced by the needle of the sewing machine, the artist’s framed artwork an extension to the impression of clothing and furnishings rendered in figurative painting.

A faint grid like format appears to offer an underlying structure to Tom’s piece. This has been achieved by superimposing a photographic image of an open spread of rectangular postal envelopes over the blue. The motif of the envelope conjures ideas of correspondence and communication. Echoing the borders surrounding each of Giotto’s 36 scenes, the edges of the envelopes enable the very structure of Tom’s piece to link back to the layout and compositional construction of Giotto’s masterpiece.

Giotto’s figures seem contained and compartmentalised within their allotted spaces acting out scenes of life, death, forgiveness and helplessness. However, in Tom’s case, the borders become paper-thin and barely-there, as though the characters of Giotto’s brush have been set free to allow for more spiritual emphasis on the colour blue.

Stretching downwards through the centre of Tom’s artwork is a band of a lighter blue, a Bluebeam behaving like a shaft of light silently sailing in through a clerestory window. Such windows are usually located high up within a church setting, towards the eaves to provide overhead ambient lighting without distraction of, or interference from, the everyday view outside. Shining in from the top of the artwork, the eye is drawn upwards as if one has suddenly been transported to the Arena Chapel itself, towards the magnificence of the star-studded grandeur of an ocean sky of lapis lazuli.

Once more valuable than gold, lapis lazuli was sourced in what is now Afghanistan to produce the powder for blue paint and could only be applied sparingly on artworks, except for the wealthiest of patrons – as was the case with the Scrovegni family! The blue of Steve Joy’s ‘Invocation for Blue (Giotto)’ recognises this historical fact.

Steve’s delicate shades of blue heighten, deepen and shimmer like a transparent, glassy topaz. Highlighted in synchronisation with the trajectory of the Nebraskan sun, his shades of blue provide a calm, zen like allure reflective of the sublime essence of the Midwestern sky itself, assisting to put patients and staff at ease.

Shaped a little like a Medieval altarpiece we can imagine Steve’s contemporary Icon-style painting installed within the Arena Chapel. The three vertical sections not only parallel the two side walls and central west wall, where Giotto’s ‘Last Judgement’ fresco takes centre stage, but the sacred geometry of The Three In One.

However, just as in Tom’s painting, there are no visualisations of suffering or the consequence of sin. These illusions are abandoned to favour the flatness of the picture plane and the materiality of the blue-bathed silver leaf. Whilst the darker stripes recall the columns of narrative scenes in the Arena Chapel, the blue glow perhaps reflects the blue light of our computers, tablets and digital devices. Steve himself has even suggested that the trifold arrangement of an ‘Invocation for Blue’ recalls the outline of TARS, the monolith like robot in Christopher Nolan’s film Interstellar (2014).

The little rectangle of gold attached to the upper right of the piece appears not as an appendage tacked on to a being of Artificial Intelligence, but as a direct connection to the golden haloes of Giotto’s fleeting, floating and playful angels. However, perhaps in this case, Steve’s artwork is not the domain of soft winged Gabriels and handsome Michaels – the angels of Medieval imagining – but the realm of the ‘terrifying’ and ‘terrible’ Angels of the contemporary age as portrayed by Rainer Maria Rilke in the Duino Elegies. As such, Steve’s piece strikes a chord with the idea of needing something that ‘enraptures, consoles and helps us’ through life. Not to explain or to justify the world, but to bring us closer to it through poetic metaphor, because as suggested by Rilke, humankind, like angles, are only visitors in this world.

Reflecting the subtle graduations of blue in Giotto’s frescoes, from the skirting up to the curving apex of the ceiling, Mike Nesbitt’s Giotto diptych takes it cue from an earlier piece the artist made in response to the expansive skies of Nebraska.

The two parts of Mike’s diptych are based on photographic close-ups of the ‘McCook Blues,’ a piece the artist previously installed in Norris Alley, McCook, in the west of Nebraska. This large-scale work of pre-cast concrete is coated in layers of custom blue and white coloured concrete. The marbling colours and raw textures of the work reflect the artist’s recollection of the Nebraskan landscape coated in white snow stretching out to the horizon where the sublime blue sky gathers.

Placed in the alley’s central spot, the ‘McCook Blues’ merges sky with landscape and vice versa. The recently re-invigorated alleyway is named in memory of Senator George W. Norris, a great supporter of innovative technologies. Mike’s piece is a fitting tribute to the senator’s thoughts about “what hope a simple cloud along the horizon could stir,” for Midwestern communities. Much of Mike’s practice is about bringing communities together and striving to bridge the gaps between the industrial, the disused and the rural through a soulful search of cultural placemaking.

The diptych in the B Alcove of the April Sampson Cancer Centre shows a section of the edge of the ‘McCook Blues’ with the Nebraskan sky above. A double entendre then, as the concrete itself has been inspired by the palette of the sky under which it sits. This duality is further heightened by the similarities the ‘McCook Blues’ shares with both contemporary billboards and the Standing Stones and stelae made by our ancient ancestors.

We see from this close-up image that the edge of the ‘McCook Blues’ is thick with crusted, coagulated concrete, like a thick shell of white lava, seemingly kissing the fabric of the sky. Mike has taken one pixel from the various shades of blue and edited the diptych so that the entire expanse of sky in each piece is a singular and specific shade of blue. A single moment of sky, an ecstasy of blue, captured, enlarged and repeated.

Calling to mind the visual impact of ‘International Klein Blue’, a shade invented by the French artist Yves Klein (1928-1962), Mike’s creative process finds a more subtle connection to Gustav Mahler’s thoughts about his Fourth symphony.

The tender delicacy and airy lightness of Mahler’s Fourth was inspired by Das Himmlische Leben or ‘Life in Heaven,’ a song the composer wrote based on a collection of German folk poetry. Mahler described the basic tone of the symphony as the ‘undifferentiated blue of the sky’ and claimed he had much trouble in capturing this compared to the sky’s changing and contrasting shades.

Soaring above the solidity of the concrete, is Mike’s undifferentiated shade of blue a representation of Heaven then?

The desire for a singular shade of blue to sweep across the sky perhaps reflects how we wish to control a certain situation. As suggested by Rilke in the Duino Elegies, we can change the world by changing our sense of it.

Just as Rilke composed the Elegies in the north of Italy overlooking the soft blue waves of the Adriatic Sea, the controlled blue hues of the B Alcove draw us in to a celestial world, a heavenly mirage of its own making. As angels festoon the walls of the Chapel in Padua, their haloes still shining brightly against the mists of time and the dust of lapis lazuli, the artworks of Tom, Steve and Mike not only transport viewers to a time and place of another, but imbed a transient, ethereal moment into the very existence of the present. The invisible becomes spiritually visible, offering a new order of reality.

Like Rilke’s elegies and Mahler’s Fourth Symphony, the blue artworks of the B Alcove are evidence that we are not marooned in the contemporary world of the everyday or the difficulties associated with a cancer diagnosis, but surrounded by the miraculous, especially during the transformative process of healing.

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Pendour Picks for Visiting Pushkar

Linda Bell

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27 - 05 - 2410 - 01 - 25

Pendour Picks for Visiting Pushkar

One of the slightly more difficult places to get to in Rajasthan, Pushkar is definitely worth the journey!

This idyllic town is one of the most important sites of Hindu pilgrimage in India. Over 400 temples encircle the holy lake, or Sarovar, as delicate white ghats lead down to the water’s edge. The most important of these temples is the Brahma Temple, also known as Jagatpita Brahma Mandir. It is one of the very few Temples in India dedicated to the Creator-god Brahma.

The town’s laid back, alternative atmosphere caught Linda Bell’s curiosity – here are her top Pendour Picks for Pushkar!

EXPERIENCE THE SERENITY OF A BLESSING

There are 52 Ghats to choose from where you can receive a blessing in Pushkar though of course I’d advise going around the entire lake and visiting each one as it’s so beautiful!

You’ll have to leave your shoes at the top of the steps, or carry them with you when you enter the Ghats as this is holy ground. Feel connected to the Earth, to this sacred place through the very soles of your feet.

Just watch your footing – there are many steps, some quite sharp and of course like anywhere in India, there is rather a lot of cow dung! Although it’s an important religious symbol in India, it’s probably best to avoid pacing into… You may also find the steps and marble walkways get surprisingly warm underfoot due to the hot sun!

You will likely be approached by one of the priests who are watching out, often sitting crossed-legged nearby in meditation. Have a set figure in mind of how much each member of your group would like to donate in cash to the nearby Temple. In exchange for the donation, the priest will conduct a beautiful blessing. Incense, chanting and rejuvenation are all part of the rhythm at the water’s edge! You will be invited to cast flowers and/or rose petals into the lake. It’s a very uplifting and spiritual experience. I felt a deep connection to the sense of place, its timelessness and welcome to all who pass through, whatever they have faced in life.

Breathe in deeply and take a few moments to enjoy the tranquillity of the setting. The steep-sided, arid looking slopes of the Aravalli Mountain Range, sparsely coated in fuzzy-looking trees, punctuate the middle distance, the horizon blurs in a haze of heat and mist. The water slowly laps the decorated walkways and platforms of the ghats, whilst the spread of temples, havelis and bazaar-lined streets all radiate out from the glistening water, like a sparkling diamond set in a ring of opulent jewel stones.

The Sarovar is the beating heart of this majestic setting, where Lord Brahma is believed to have emerged from a lotus flower.

Be sure to secure your ‘Pushkar Pass’ from the Priest after your blessing. This fine piece of twine wrapped around your left wrist will enable you to wonder around the Ghats for the rest of your visit without need to make a further donation (unless you wish to of course!) I kept my bracelet for many months until it disintegrated, as I believed it would fulfil my wishes murmured at the edge of the lake!

Enjoy a tour of the nearest temple (if your donation was generous enough!) to take in its wonders and marvellous puff of incense. Study the shrines and deities in between posing for photographs for the local worshippers who may even present you with their babies to hold for the snap, it may all feel a little overwhelming, but everyone is very friendly – smile and say cheese!

SLEEP 'N STAY IN A HAVELI

There are many cheap places to stay, but for a little more, I’d recommend Inn Seventh Heaven all the way!

The moment you step off of the streets of Pushkar and into this beautifully restored, 100-year-old Haveli, you’ll feel instantly transported to another world! The welcoming courtyard, which is also the restaurant ‘Sixth Sense,’ is complete with a central fountain and provides adorable seating nooks half hidden behind palm leaves and ornate screens, where you can quietly read or contemplate all you have experienced in Rajasthan.

Climb up – towards the heavens! – for a relaxing night of slumber in one of the uniquely decorated cloud-white rooms. Incorporating hand carved antique chairs, tables fashioned out of wooden shutters and doors, the views from the windows are framed by gently floating drapes, all offering an elegant yet laid back Parisian-chic appeal.

We were lucky enough to stay in a room on the top floor with a huge glass ceiling dome, so we felt truly beneath the Heavens! The creeping plants growing over the green glass dome were silhouetted by the morning sunlight – all just magical and enchanting to wake up to along with the mesmerising sound of otherworldly singing coming from the Temple around the corner!

Just be sure to bolt your heavy wooden door at night and don’t leave your shoes out as monkeys do roam the town throughout the night!

This oasis is the perfect escape from the action and bustle of the vibrant bazaars. If you seek tranquillity and solace all at an affordable price, then Inn Seventh Heaven is your haven! Meanwhile, the Sixth Sense restaurant is a truly dreamy, sumptuous setting for the fragrant flavours of traditional Rajasthani cuisine!

Sit by the fountain and enjoy a Pushkar speciality – the delicate taste of rose lassi – it doesn’t get more romantic than this!

And don’t pass by on a massage in the downstairs suite, it’s more of a sports massage so you’ll feel extra loose for that yoga session in town!

ride the savitri mata ropeway

Go late afternoon, climb the 1100 steps to the top and take in the spectacular views before hitching a lift back down on the ropeway. Unfortunately, we left it a little too late to catch the Savitri Mata Temple at the top, but visiting this temple is a must, the setting is outstanding! Despite this we still took in the majestic bird’s eye view of Pushkar, surrounded by families of monkeys – just watch they don’t come too close and steal your bags!

There is a little café stall at the top, with water and soft drinks to quench your thirst on those hot days though it is a little more breezy at this elevated height than down at city level.

We really enjoyed the views on the way down, the sun set reflected in the lake far below. It was rather like being inside a Howard Hodgkin painting!

However, around half way down, the cart suddenly stopped for about 10-15 minutes. This was a little alarming, the other two couples in the cart did not seem to speak English and there was no way of knowing what had happened. We were left swinging in the wind for about 15 minutes until we started moving again. But I guess this just made the sunset soiree all the more memorable!

Note – there can sometimes be queues, make sure you’re prepared to wait a while when it gets busy!

feast in restaurants with unforgettable views

The town of Pushkar is a wonderful place to explore. There is so much to see and take in – but don’t forget to look up! Many restaurants are just a doorway at street level, with seating often sprayed out on balconies and viewing platforms on roofs, towers and terraces. It often feels like every elevated horizonal inch of Pushkar is put to good use so as to maximise the views of the lake and mountains. Start your day with a coffee and/or lassi overlooking the lake contemplating the beauty of this part of Rajasthan.

Many of the restaurants are vegan, you’d be hard pressed to find non-vegetarian ingredients, though you can take a trip to Ajmer if you need that protein kick . . . .

Pushkar is supposedly alcohol free too, but you’re sure to find a cheeky drink, served in the disguise of a thermos cup, if you ask around. . . .

The currys at the Laughing Buddha are excellent. However, be mindful if you order salad and pasta dishes (there is a Mediterranean style restaurant) but I’d recommend to stick to the traditional cuisine as the water used for cooking might not be drinkable.

There are lots of street food stalls too which are even cheaper than the restaurants! Go for the busiest ones, enjoy the flavours surrounded by the smells, cows, sights and sensuality of the streets lined with stalls and bejewelled by the town’s colourful inhabitants.

take in the magic of the bazaars

Shopping is a big thing here! You’ll find all sorts of mementos, souvenirs, gifts and treasures in the market stalls of Pushkar. It’s a wild and enchanting experience to roam the narrow streets lined with shops and stalls, overspilling with Rajasthani curios. From ornate padlocks to bangles, gracefully posed deities, handmade shoes and bags to even vinyl records the goodies are tantalising! Affordable saffron, quality Ashwagandha and ayurvedic treatments can also be found amongst the treasure troves of jewellery and statuettes!

The stall owners are always very friendly and not too pressurising, they tend to understand if you prefer to come back later, when it’s less hot or when you’ve had a chance to get more cash!

It may be a little risky using the ATMs in Pushkar, but there is a good bank. You’ll be shown inside and be able to sit while you wait, as obtaining cash can take a while!

Purchase anklets from the wondering women, parading through the streets with their wares. You’ll come across all sorts of characters, from beggars and priests to hippies and bohemians maintaining the Pushkar vibe from the 70s to the 20s!

visit the musuem in ajmer

If you want a little break from the sights and scenes of Pushkar, I’d recommended a trip beyond the hilltop pass, over Snake Mountain or Nag Parbat, a little further afield to Ajmer. Most likely you arrived by train in Ajmer in order to get to Pushkar, but there is much more than just a train station in this town!

You can book a taxi through your accommodation, or hail a Tuktuk for the journey of about 10km which takes roughly 30 – 40 minutes with stunning views of the Avalli Mountain Range. Distinctly Muslim in feel due to rule by Delhi Sultans since the late twelfth century, Ajmer is still an important site of Islamic pilgrimage today. Set around the Ana Sagar Lake, the city’s hustle and bustle is quite different in feel to Pushkar’s alternate vibe – it’s worth a trip to have a look around!

We prioritised visiting the museum in Ajmer and it’s a real surprise, a wonderful hidden gem! To start, we decided to savour the taste of a refreshing masala chai, served from a stall in the museum’s garden area. Of course this was served in wonderful handcrafted terracotta cups – no paper and plastic coated ones here!

(I wish I had taken a photo of all the masala chai stalls I came across in India, with their towers of charming terracotta vessels! They are so beautiful in their simplicity and of course tea tastes better when served like this!)

Energised from the sugary, cardamom-infused elixir, we entered the museum and proceeded to the main courtyard repletely lined with upstanding cypress trees, echoing the uniformity of the surrounding pillars.

Commissioned by Emperor Akbar, with construction commencing in 1570, the museum not only holds an important position in Ajmer but in historic relations between India and Britain. Originally known as Akbari Fort, the complex honoured the Sufi Saint Khwaja Moin-ud-din Christi.

Within the honey coloured Garden pavilion is a display of mannequins, depicting Sir Thomas Roe in a tricorne hat and curly wig presenting a charter to the regally dressed and magnificently serene Mughal Emperor Nur-ud-din Salim Jahangir (1605 – 1627). Roe was sent to India on behalf of James I of England to this very Pavilion in order to secure permission for the East India Company to enter into a trade agreement with India and to establish the first factories in Surat.

We proceeded to look at the collection of painted miniatures in the museum, then onto the artillery collection – and my what an assembly! There were cannons, bayonets and guns from Topider to Donali and warrior helmets, all impressively displayed. Swords from Kaatar to Farsa and Jagnol demonstrated Medieval weapons of warfare. A very enthusiastic museum guard wanted to name and explain every piece to us in broken English; he did not want us to miss anything. It wasn’t all quite up my street (hence no photos!) but his enthusiasm for our benefit was contagious!

Next we took in the spellbinding presence of some of the Museum’s incredible collection of over 600 stone sculptures. Arranged in an orderly manner along several corridors and in quiet, reflective alcoves with space to breathe between each one, an awe-inspired reverie commenced. Striking both familiar poses and unexpected meditative positions, it felt as though these pieces were living and breathing, quietly observing us through the centuries in complete stillness and eternal silence.

It would be impossible to not feel moved by the quiet majesty and enthralling calm of this assortment of carvings. The whole experience was mesmerising and completely unforgettable – a real highlight of my little adventure to India!

With so much to take in and learn, and so many stories about Rajasthan and the history of India, be sure to add the museum to your Pushkar list – don’t miss this special experience!

catch sight of the camels!

In search of a new way to get around? You’ll come across many camels in Pushkar and this part of Rajasthan! These magnificent creatures process around the wider backstreets of the town, drawing their passengers in decadent carriages, just like something from an Indian Miniature painting! Of course you can hitch a ride, or even go on an arranged camel safari, but it is just marvellous to see how these beasts are a staple of the Pushkar province.

If you’re lucky enough to visit Pushkar between October and November be sure to check out the Pushkar Camel Fair. This spectacular week long festival is held on the Kartic Moon of the Hindu Astrological calendar and also goes by the local names of Kartik Mela or Pushkar Ka Mela. According to mythology, this phase of the moon is also the time when Lord Brahma created the lake at Pushkar, the perfect reason to celebrate!

Camels from all over Rajasthan and even further afield are brought to the festival to be bought, sold and traded. Many are bedecked in pom-poms and colourful adornments for the beauty contests!

This spectacle brings about 40,000 visitors to the area so it’s advisable to book accommodation and transportation well in advance so as to join in with all the fun of the fair! With Ferris wheels, performances, fortune tellers, magic shows and music, bazaars of artisanal handiwork and food vendors all adding a buzzy flair to the festival, games of cricket and musical chairs offer a competitive edge! There is also the longest moustache competition! And wonderful opportunities for photographs. This fascinating tradition is certainly on my bucket list for my next trip to India!

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SECOND WAVE ROUND

Design & Durability

sustainability

COST & FURTHER CONSIDERATIONS

FINAL NOTE

pendour picks

A m e r I c a n

S U B L I M E

I

II

III

IV

V

Pendour Picks

- A -

A r t i s t r y

- t -

T I M E

- C -

C o l o u r

- G -

G O L D

pENDOUR PICKS

PENDOUR PICKS

A NEW APPROACH

THE SETTING

THE ART OF GENEROSITY

GREAT MINIATURES

CORNFIELDS AND CANVAS

WRINKLED MIRROR

Earthline

ART ALCOVES

WEST MEETS MID-WEST

GIOTTO BLUE

PENDOUR PICKS

EXPERIENCE THE SERENITY OF A BLESSING

SLEEP 'N STAY IN A HAVELI

ride the savitri mata ropeway

feast in restaurants with unforgettable views

take in the magic of the bazaars

‘Casa da Signore
con torre a
modo di palagio’