Whenever people ask us about our commercial crops on our little Andalusian farm, we always mention olives and our almonds. Grapes were once a commercial crop for us – in the form of our Malaga-style wine – but that was many years ago. And, while it’s true we also once sold a bushel of pink grapefruit to a greengrocer in our local village, the only other crop we ever used to sell regularly was carob (algaroba in Spanish). Known as boxer in Britain, carob was best known as a chocolate substitute, especially during wartime, when supplies of the real stuff were sparse, and these days, it’s popular as candy (in the States), ground for flour, eaten as a dried fruit and made into syrups and even alcoholic drinks. But, in the 90’s it’s popularity seriously waned, and the price for the brown pods and seeds fell so low, it cost us more in diesel to get to the carob to the factory than we got paid for it.
However, the emergence of veganism has seen a massive spike in the demand for carob, and a corresponding rise in its value, making it a worthwhile crop once again. And, in the event we were paid a handsome €60.00 for our modest three sacks, giving us in turn, a pleasant excuse to continue along the road, to spend our earnings – somewhat ironically – on some delicious, decidedly non-vegan Malagueño cuisine…
We’ve been to Gibraltar several times over the past two years and each time we seem to discover something new. For such a small territory it’s surprising how many little secrets it manages to keep from the general tourist and day tripper, who’s itinerary seems restricted to a cable car ride to the top of the Rock, finished off with a pint at the pub and a plate of fish and chips. Not that there’s anything wrong with these activities, which do at least ensure the preservation of hidden gems like Rosia and Catalan Bay for the lucky few.
Our discovery of Catalan Bay was particularly accidental, as we had to arrange a last minute trip to Gibraltar, and the only room available was at the Caleta Hotel, on the relatively remote (remote only in a Gibraltarian sense), sparsely populated, eastern side of the Rock. But while the the bay on which the hotel sits may be named for Catalonia, the seaside hamlet along which it resides is far more reminiscent of a Sorento on the Italian Riviera – albeit, in microcosm.
Moreover, with the Caleta Hotel being Italian owned, with an Italian head chef, this tiny enclave has a feel and an atmosphere all of its own.
I would recommend the hotel as a decent place to stay (comfortable rooms and a bar and restaurant with a stunning, maritime outlook), but it’s to be torn down in January, with a Hilton rising up in its place. Nevertheless, for those visiting Gibraltar for more than a day or so, Catalan Bay is a charming place to visit.
Despite the overcast skies, I think these photos offer something of the peaceful, secluded atmosphere of the place.
Despite some recent inclement weather, including frost and even a dusting of snow, the Axarquia is showing early signs of Spring. The pictures here, all taken over the past week, on and around our finca (small holding) in the foothills of the Sierra Tajeda remind us of nature’s imperviousness to the current dystopia we find ourselves condemned to inhabit for the foreseeable future.
Sometimes, pictures (even enhanced iPhone snaps) are far more eloquent than mere words…
…AND HOW I DERIVED SOMETHING POSITIVE FROM OUR MOST NEGATIVE EPISODE
The past twelve Covid-19-infested months included, by far the bleakest time my wife Dido and I have shared together was our enforced eight-month sojourn in Boulogne-Sur-Mer, back in the early 1990’s, described in earlier posts ( here and here).
Yet, few circumstances, however dire, are so unremitting that they totally lack the odd moment of emotional uplift. And for us, in Boulogne, these moments were generally provided during our regular weekend strolls across the local beach.
The proverbial bracing sea air (even when tainted by the odours emitting from the local fish cannery on the southerly breezes); the angry waters of the English Channel, inky blue-black beneath a vast sky of tumbling clouds; distant rain squalls appearing like grey curtains drawn across the serrated horizon; and shafts of silver sunlight occasionally breaking through the blanket of cumulous like spotlights illuminating a white flecked, cobalt stage in perpetual motion – all conspired to blast us temporarily from our glum mental state.
In a way similar to how blues music comforts and eases the spirit, by both reflecting back, and articulating the nature and source of the angst, so those tumultuous blue-tinged scenes reminded us of our innate love for life and the adventures it offers. The three palette-knifed oils here, painted a year or two later in my southern Spanish studio, celebrate those precious moments that gave us the reason and the energy to persevere. A particularly apposite recollection I think for these troubled times…
My recent post on line drawing was so well received that I thought I would follow it up with this look at a set of my more studied drawings from 1996.
The images here will be familiar to some, as they form the basis of one of my most successful and enduring themes, which I returned to many times over the course of decade or more. It all started with a casual photo-shoot on the sunny south terrace of our Spanish home, when my wife Dido (the blonde lady in these pictures) and Lynne, an old ballet pal of hers, performed a variety of impromptu poses for my camera. Mostly, they involved dance (see this related post), but they also acted these three, far more contemplative vignettes.
Unlike line drawing sketches, these take account of light and shade as much as form, giving them a more obvious dramatic content. But, as with line sketching, often, what is left undrawn, is as important to the feel of the picture as what is drawn. In the case of these works, it was my intention that the whiteness of the untouched paper in contrast to the painstakingly executed figures, and the shadows they contain and cast, would accentuate the feeling of the harsh Spanish sun, saturating the tender friendship of the two girls.
All in all, I think they succeed pretty well, and for me at least, remain precious moments captured in lead.
I nearly titled this as a third straight “yearning” post, in the sense that after three months lock-down here in Oxford we are desperate to get back to our finca in southern Spain. But seeing as we are actually returning there tomorrow I decided on a catchier and hopefully more optimistic heading.
In fairness, when we’ve been in Spain for as long as we’ve now been in England there’s plenty I miss about our other lives in London and Oxford, but the longing is rarely as intense as what we are experiencing right now for our Andalusian home.
And perhaps there’s the clue; the fact that our little farm in the foothills of the Sierra Tajeda is the nearest thing Dido and I have ever had to a settled home. We’ve certainly owned it for more than three times as long as any of our previous homes (separately or together), and then there’s all the sweat and blood we’ve dripped into the building of our house and the rocky soil upon which it stands.
But perhaps, more than all of that, it’s simply the way the setting of our finca has ingrained itself into the fabric of our being through the sheer power of its ridiculous beauty.
So, although we missed wonders like the almond blossom display this year, thanks to about thirty years of memories, and images like the ones on show here, we can never truly miss them – they live inside of us, rendering us unusually fortunate.
WIshing all my friends, viewers and followers a happy 2020
The single most impressive feature of our lives since we purchased our mountain finca (smallholding) in southern Spain, and becoming part-time farmers in 1993, is how it dramatically increased our awareness of the passing seasons. A perception intensified by having planted the best part of a thousand trees, and then watched as they gradually transformed our immediate environment.
While there are many sobering aspects to the passing of the years, we have found both solace and joy through the metamorphosis of our humble hilltop. Hopefully, it will continue past a good few new years yet!
…and how two ice cream ladies ended up being PORTRAYED on the wall of the chilean embassy in london…
During our 1991 visit to Chile we took a day-trip from Santiago to Valparaiso, to have a look at the National Congress building, but mainly to try and get a feel for one of the great ports of the Americas. In the event, the building was nothing to write home about – an unresolved confusion of brutalist classicism – and the port area was more plain sleaze than the Hemingway sleaze I’d been hoping for. Sadly, we lacked the time to explore more of what was once described as “the Jewel of the Pacific”.
However, as often happens when travelling, memorable moments occur when least expected, and from surprising sources. In this case for example, it occurred buying ice creams in a gelateira by the bus station, when my wife Dido and our companion Lynne got into conversation with the two ladies running the shop, about Chile’s national folk dance; the Cueca.
How or why what happened next, I can’t quite recall, as the two women, in the sweetest and most obliging of gestures suddenly broke into song and started performing the dance. Fortunately I had my camera to hand and was able to get a visual – if slightly unfocused – record of the impromptu outbreak of traditional Terpsichore. Happenstance often resulted in my camera being my sketchbook, and this turned out to be a prime example as I found the fuzzy photos more than adequate reference for a later work back in my studio.
* This was one of the first times I used black ground on a canvas (I’d often used the technique in commercial work), and I found it a dramatic contrast to the broad, bright impasto gestures knifed on top. The painting was about five-foot (about 152 cm) square.
Generally, one associates the concept of theme and variations with music. From Classical to Heavy Rock (e.g. Brahms’ wonderful takes on that tune of Haydn’s or more recently Leslie West’s fabulous live improvised versions of his own Swan Theme on the album Flowers of Evil) and all idioms in between and beyond, most composers have enjoyed playing around with a basically good tune (their own or other people’s) and taking it to new places.
However, this is hardly unique to musical composition and if anything, an exercise exploited far more by visual artists, and most famously by both the Impressionists (e.g. Monet’s Waterlilies) and then the post impressionists (e.g. Cezanne and Mont Sainte-Victoire).
The greatest distinction between the musical and painterly approaches is that in the former the variations are normally presented together within a single work, whereas in the latter they typically appear as a series of individual pictures.
As a regular practitioner of the latter painterly approach in my past life, I often mused whether or not I was merely obsessed – struggling for an unreachable perfection – or rather practising the artistic imperative of interpretation.
In the end, I came to conclusion that it was a mixture of the two and that in fact, the secret of all good art, and good science too for that matter, is an obsessive love of a particular subject and the interpretive skills to channel that love into something coherent and meaningful. The four pictures shown here present my first ever paintings of Dido, before we were married, standing in a doorway in the gardens of the Alcazar in Seville: The object of my love, obsessively interpreted…
Although I promised the resumption of normal posting for this piece, I’d forgotten that I would be in Oxford, and thus geographically separated from my two hard-drives (one in Jönköping in Sweden, the other in southern Spain). So, for the third successive post I’m restricted to the material I carry around on my laptop and hence, this canine themed picture post.
This is in effect an homage to our late dog Aura, with whom we shared so many wonderful and wacky moments.