A FRUITFULL YEAR

JULIE COWDY ARPS

My holiday home is in the Lomagne, a region of SW France famed for its garlic production.

Each July the market stalls overflow with heaps of violet ‘tresses d’ail’. One of these plaits of garlic bulbs began a series.

During the summer months in France I set up my chosen subjects on the terrace, where the strong, natural lighting makes it easy to achieve detailed studies. I decided that I wanted to photograph the garlic and then add a layer of text.

I happily foraged for other ‘fruits of the earth’ from around the garden and meadow, collecting a branch of bullace (a cross between damson and sloe), also pears and figs. I wanted to study each item in more detail, so I made separate photos of seeds, leaves and cross-sections of their fruit. The compost heap was a fertile source, supplying a sprouting avocado and walnut.

Sunflower

We’re surrounded by fields of sunflowers and roses climb the walls of our courtyard, so I added flowers to my growing collection. Whether branches, blossoms or buried bounty, above the ground, on the ground or below the ground, they all have unique characteristics. The style of 19th century botanical illustrations came to mind. I believe that the detailed accuracy of PierreJoseph Redouté’s 19th century rose paintings inspired my love of photographing flowers, fruit and vegetables.

The decision to suspend each subject with twine was a practical, presentational solution, as the garlic refused to stand up without support. Including the rustic element just seemed appropriate.

In post processing I decided to make composite images to create a trompe l’oeil effect. I used Photoshop to make layers with photos I’d made of antiqued paper and borders. Later, I realised that the stark white backgrounds were not appropriate for the vintage style I was aiming to create, so I searched my folder of textures to find sympathetic colour matches for each subject. I added these as layers on top of the finished compositions, then, using a layer mask, I brushed away the areas where I didn’t want texture.

To everything there is a season, so I had to practise patience when I returned to England in the autumn. I waited for other specimens to grow and ripen; eventually collecting raspberries, carrots, turnips and beetroot from a neighbour’s allotment. During the winter and spring I dug up narcissus and hellebores from my garden, carefully washing the soil from their bulbs and roots.

The time came, after a full year, when I realised I had the makings of a panel of fifteen to submit in the Fine Art category to the RPS, which ultimately led to my successful ARPS award in November 2020.

Pear