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Sublime poster12/30/2023 We see Vera mingling with customers at the actual salon where she works and appears to be embraced as an accepted member of her town. González, who has a background in both directing and lensing documentaries, populates his film with nonprofessional actors from the region who upend the tired tropes of conservatism often associated with it. The character, a transgender hairdresser named Tatín, appears to be not all that far removed from Tatín Vera, the woman who plays her. $90.00 from the Australian Landscape Conference.There’s a sublime sequence that occurs about midway through Juan Pablo González’s narrative debut feature, “Dos Estaciones,” that pivots from the film’s central storyline to follow another inhabitant of Atotonilco el Alto, Jalisco, the Mexican community in which the picture is set and where its director was born and raised. Editor: Claudia Pertuzé – Ediciones Puro Chile, Vitacura Santiago, and Hatje Cantz Verlag, Berlin, 2017, ISBN 9783775743891, 304 pages, RRP AUD $110.00. It is a fine book, attractive and useful. It is greatly enriched by several thoughtful essays and the impressive yet sensitive – one might say delicate – photography of Renzo Delpino. This handsome volume provides a rare insight into highly professional gardening in this profoundly beautiful continent. Thus, the beauty lies in the experience of exploring the garden, in discovering moments within it … What I do with vegetation is create an atmosphere, a visual mood, a sensation, an image of a natural setting.” “Any good garden is, in my view, mysterious … I try to surprise the visitor with something unexpected … the components, or groups of components, are not revealed all at once. The undergrowth, meanwhile, will keep changing, surfacing throughout the different phases. Juan Grimm’s maxims are well conveyed in his own words: “… the garden takes shape in stages: first the groundcover will be centre stage, then the shrubs, and finally the trees, which will endure. The large suburban Amadori Garden in Santiago shows how a hard-paved forecourt can be humanized through hedges and tree canopies, with subtle level changes and a sculptural stone water garden providing visual interest to a flat site. Stepped terraces and stepped ponds modulate sloping sites, with occasional strong colour accents such as jacarandas or a silk floss tree. Large country estates he has worked on, such as those at El Roble, Barros and Allende Parks, are characterized by foreground lakes and dense forest backdrops. “I have seen how some of the most beautiful landscapes in Chile have been destroyed.” Preserving natural settings, using drought-hardy plants, minimizing chemicals and irrigation and recycling greywater are features of his more recent projects.įacing the vast expanse of the Pacific Ocean, his Chiloé and Bahia Azul Gardens both reveal thoughtful planted responses to extreme ocean-front locales. Ideally, the broader visual context will be linked with the garden, gaining the borrowed landscape of distant lakes and hills. While plans are important, plant installation must be carried out by eye on site to better reflect the nuances of the place. Different scales of vegetation create the spaces, which evolve over time, with Grimm revealing himself as an absolute master of shrub belts. Grimm outlines how sinuous or rectilinear geometries are determined and patterns placed on the ground. In “Studies of Color and Form,” his “observational studies” provide brilliant renderings of the potential play of plant colours and textures. Google Earth proved a revelation revealing to Grimm landscape patterns and textures. Early chapters demonstrate his response to landscape through fine pencil drawings that define the space and texture of imaginary gardens and that show the lasting impression made by native landscapes, such as the Araucaria forests, rugged rocky coastline, and the rain bringing the desert into bloom. The book elegantly summarizes Grimm’s landscape philosophy and his approach to garden design.
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