Traditional statues and modern creations can transform and refresh any outdoor space, especially in winter, says Aileen Scoular.
Apprehended, sprawling and sliding over the sculpture's sinuous bronze curves, two small children were admonished by the guard in luminous lime-green and sent on their way. The installation of Henry Moore's mighty works within the lush landscape was far from complete, and already the visiting public had made their mark.
But that's all part of the appeal of sculpture outdoors. It is inherently accessible. Unlike the whispered awe demanded of the galleried environment, outdoor sculpture and statuary has to suffer the indignities of real life. And if that means dismal weather, human interaction and avian waste, then so be it.
Many gifted artists create work that is at its most joyous when viewed in the open air. The size and scale of some contemporary pieces, while prohibitive to the average indoor gallery, seem so satisfying when viewed against an expanse of scudding white clouds or a still, grey horizon. And the effect is no less successful in a private garden.
Introducing a flavour of the unexpected can shake your garden to its core and ease the pressures of the seasonal maintenance routine. For the pragmatic among us, a well-placed focal point will encourage the eye to stop and linger, rather than fidgeting on to a job not done. As art, it can be money terrifically well spent.
Faced with acres of space and a desire to invest, though the key question is, whose work do you buy?
Fifteen years ago, septuagenarian Wilfred Cass and his wife, Jeannette, sold their personal collection of sculptures - including work by long-time friends Henry Moore and Dame Elisabeth Frink - to fund the creation of a sculpture foundation that would promote and support British artists. Today, the foundation's Sculpture Estate at Goodwood in Sussex, features around 70 works at any one time, in a vast variety of materials by British sculptors of every age. The foundation is scheduled to commission some 20 new works in 2008, so Wilfred, more than anyone, must know a good investment when he sees it.
"One way of determining sculptors who could ultimately become collectible is to look ahead and follow what's being commissioned," he suggests. "We have a select group of people - a club, of sorts - who follow what we're going to commission over the next few years. We often plan up to five or six years ahead because we may have to develop the technology first, before we can actually create the pieces. And it's a two-way process: our potential collectors give us a view on what they might invest in, which helps to shape our plans. To be part of our commissioning process is a very special opportunity."
Of his current roster, Wilfred cites Eilís O'Connell as an important name to watch, along with Stephen Cox. "Britain has a great many underrated major artists," confides Wilfred sadly. "Tony Cragg, for example, hasn't always had the recognition he deserves. It's a little like a horse race, I suppose; it's not always easy to see who'll win the Derby - especially in the long term."
Then, there are the sculptures themselves. As solo performers, heavyweight, over-sized single pieces have an arresting impact in a garden setting. Contemporary garden sculpture benefits greatly from the right planting partners, and extremes of scale generate most success: layered bundles of flamboyant foliage or simple sweeps of a single species. Hannah Peschar, whose mystical sculpture collection is a breathtaking escape from the outside world, is adamant that the way in which a sculpture is positioned and placed is fundamental.
Wilfred Cass takes a more relaxed approach. "It used to be that sculpture was claimed to be site-specific, but when we created our Sculpture Estate, we took the view that all of ours had to be able to find a home. Sculpture makes its own space, so you don't have to worry too much about where you place it. When you change a sculpture, the new one subsequently makes the space its own, too, but in an entirely different way."
The question of size is altogether more defined. As garden designer Andrew Wilson so succinctly puts it: "If it would work in your living room, it's too small." While larger pieces may require planning permission, never skimp: the most overwhelming sculpture shrinks dramatically when released into the open air.
Yorkshire Sculpture Park's Deputy Curator Helen Pheby urges would-be collectors to give consideration to how the sculpture will be lit at different times of the day or year, and how seasonal changes to its context may change its appearance. "Allow space to view from multiple angles and consider the history and genius loci of the garden," she says. Alternatively, she adds, "Sculpture can be sited very dramatically, cutting across views, so that its presence dominates the surrounding area."
Figurative work is perhaps the style most in need of careful positioning. Statuary, new and old, of birds, people or mythical creatures, is doubly successful when placed within context. Thus, the group of bronze figures at Marle Place Gardens, in Kent, is infinitely more memorable for weaving their way through an avenue of whispering birch trees, while an elongated female figure finds harmony at the pond's edge in Hannah Peschar's Surrey wilderness. Even the Angel of the North - a public work that Wilfred Cass believes changed the perceptions of sculpture in this country forever - would never have been taken so seriously were it not for her lofty position at the head of the Team Valley.
The material you choose for your garden sculpture is another consideration, but not one to keep you awake at night. "Very hard stone, such as granites, tends to be the easiest to care for," says Helen Pheby. "Soft, porous rock stains easily and it attracts algae, but neither is a big problem and it can be easily cleaned and restored by specialist conservators. Bronze is an excellent outdoor sculpture material, requiring only regular cleaning and occasional waxing."
Contemporary work aside, many private gardens already play host to a gaggle of stone animals, or Pan, in full flight. While their value may not be immediately apparent, a visit to Cambridge-based Solopark soon tells you otherwise. Within this specialist bounty of period and reclaimed architectural supplies lie intricately carved fountains, statues and wall plaques - with prices well into four figures.
Inevitably, that brings us round to security. How do you guard your garden art without residing in the shrubbery? NatWest offers specialist insurance for homes and works, which includes outdoor art, while ArtGuard's electronic tagging system allows statues and sculpture to be individually tagged.
What can't be insured against is a change of heart. Before you take the plunge, visit open-air sculpture parks such as the Cass Sculpture Foundation and Yorkshire Sculpture Park, and explore gardens open to the public that are known for their artworks. Hannah Peschar's Sculpture Garden is a veritable treasure trove of artifacts hidden among the heavenly greenery created by her landscape architect husband, Anthony Paul. Pieces are lovingly placed and all are for sale. The Grove, a recently landscaped hotel in Hertfordshire, has also made clever use of carefully sited open-air art - including versatile pieces by the Landscape Ornament Company that are both garden-friendly and accessibly priced.
Whatever you select, choose with passion. Garden art can be many things, but the one thing it should never be is a compromise.
Article by Aileen Scoular. Reproduced courtesy of Private Banking, Winter 2007.
