An Artist’s Keyhole View – Sandy Ross Sykes
This is an online presentation for The Art Workers Guild during Covid 2020/1.
Looking back, I realise now that this project began with the gift of a book. Over the years I had dipped into some of the text but confess now that it was mainly the beautiful flower paintings that drew me back again and again. I am referring to Alexandra Marshal’s ’flower book’ reproduced by the Royal Collections Trust.
On moving to Fulham, a stone’s throw from Fulham Palace, I often walked there marvelling at the walled garden with its four gates in each wall, the old palace itself and the beautiful trees. One of these is a Holm Oak over 500 years old.
It was a great surprise to me to find that none other than Alexander Marshal himself had moved into Fulham Palace where the famous plant collector Bishop Compton was ensconced. This all took place circa 1675. Carefully I checked the book and the current flower beds to see if there were still similar flowers pushing their way through to the light. Little by little, starting this cold January, I began with the snowdrops. I’ve based my pages of flowers loosely on those found to be still there. It was slow work, checking the gardens and purchasing plants from their collection, then hoping they would flower. Note taking and sketching in the gardens were moving the project forward when suddenly the four gates to the walled garden were locked. The next day the main oak entrance gates were also locked. Through the keyhole I could just see the emerald green of the front lawn and the sunlight dancing on the leaves of a tree.
At this point, a sensible approach would have been to mothball the work but by now it wasn’t just a project to me, and I couldn’t keep away. Marshal painted within the walls, but I must remain on the far side. By peering through and pacing the perimeter hedges I have discovered many flowers growing wild in the adjacent graveyard which after all (or so I remind myself) was very much part of the Palace Gardens in Marshal’s time. As I work through this extraordinary time, I have been able to reflect on Marshal’s work and have come to believe that he had quite a relaxed approach to his subjects. Often on a page you will see side by side flowers that do not bloom at the same time or even in the same season. It would appear the artist gave priority to the colours and rhythm of the page rather than a slavish account dictated by the calendar season of the plants. I must admit that at times it is difficult to find the right flowers.
On 11 May I was heartened to hear that the peacock from the nearby Hurlingham Club made a visit to the closed gardens and had the entire palace to himself. By chance I had gathered the moulting feathers from this very bird for a painting class at the Linnean Society. Marshal himself included paintings of birds and animals so the peacock feathers seemed fitting to mark the roamings of the bird during these strange times. I like to think of this colourful creature flying across Fulham skies. This is very much a work in progress for me.
Images © Sandy Ross Sykes
In order to mark this long closure of the gardens, I have left space among the painted flowers to draw in the four locked gates. These I hope to finish when the gates are reopened … one day.
Islington, December 2019
Royal College of Art, London 2011 – 2018
The Hong Kong Club
Hong Kong, Solo Exhibition, 2018
Singapore Botanic Gardens
Singapore, Solo Exhibition, 2010
Royal Botanic Gardens Kew, UK
The British Museum, UK
The Hunt Institute, 12th International Exhibition, USA
The British Council, Hong Kong
Solo Exhibition, December 2006
The HK Cultural Centre, Hong Kong
The Royal Horticultural Halls, UK
The Mall Galleries London, UK
Royal College of Art 2004, UK
“Something Between” RCA 2004
Folio Society 2004
Society of Botanical Painters, UK
Annual exhibitor from 2001/2005
Zingiberaceae Exhibition Panels
These four panels trace the journeys I have made to find the gingers of southeast asia.
They allow the public to see the workings of a botanical artists life. Also recorded on these panels are the uses that indigenous people make of the plants.
The panels are made by scanning my artwork and then printing onto paper or canvas. The original paintings are watercolour on paper.
Approx. size 3m x 4m.