Andrew Lawson (1) (1945–)

Sir Roy Strong calls Little Sparta 'the only really original garden made in this country since 1945'. Ian Hamilton Finlay's unique creation in the Pentland Hills south of Edinburgh is a garden composed as an artwork in itself. It incorporates concrete poetry, moral polemic, philosophical reflection and a sparkling sense of humour. While Finlay's works and installations throughout Europe and North America are well documented and justly famous, this is the first book devoted solely to the garden at Little Sparta, which has been at the heart of his life's work. It offers the reader a sense of the diversity and originality of the garden along with a text that unfolds the layers of meaning it contains.… (mais)

Little Sparta is significant both as a garden and as an artwork. This book concentrates on the latter aspect, and the text does an admirable job of illuminating the classical and philosophical references which underpin the garden. More importantly, it is complemented by some superb photography, particularly notable since the 'works' of Little Sparta are a difficult photographic subject, without any of the traditional garden elements. The photographer has used the one natural advantage (the superb light at the edge of the Pentlands) to overcome this.… (mais)

Sometimes IHF can seem a little cool if not outright combative. This book doesn't gainsay that, but does allow one the satisfaction of seeing that Spartan outlook allied to, perhaps 'mythically' proceeding from, a garden of great beauty. This book is a really satisfactory look at the heart of that part of IHF's work, full of a sharp-toothed, sometimes punning humour, but also sensitive to the place that keen awareness had in its natural setting.

I could wish for a companion volume that gave more information about the horticulture and practical construction of the garden. This book concentrates (as one would of course expect) on the sculptures themselves, but one can't help but think that there are untapped relationships between the intentional landscape and the sculpture that could do with further attention. The garden itself, rather than the sculptural pieces, is discussed in landscape-history terms in a most illuminating manner, but the reader finds him/herself giving in to the enjoyment of the *garden* in the usual way, and wants to know more about plants and the making of such a place. But that's forgivably outside the remit of an art book!… (mais)