I’ve been carrying this book around with me for weeks—which is no small feat. In a bag that is already oversized and overloaded, a three-pound book is quite an addition. But every time I take it out to leave on my home studio table, I reconsider, put it back in my bag and take it back to The Factory—and so begins the dance again of hauling it back home again. I’ve been thinking a lot about my own journals recently, which have become less beautiful over the years. What was once a place to draw and scribble, I now use to make lists of the things I need to do or document meetings. But there is the occasional drawing from Maggie or my granddaughter Stella, and findings from trips that include business cards and ephemera, alongside a few thank you notes. I want my journals to become a place of inspiration (again). I want to cut apart every book and every journal I’ve ever written or compiled and re-do them. I want to write and think and draw. I want to sit in Derek Jarman’s garden and doodle: http://www.gardenvisit.com/garden/derek_jarman_garden_prospect_cottage_dungeness
Derek Jarman was an English filmmaker, stage designer, artist, author, diarist, and talented gardener. He created eleven feature films, most notably Sebastiane, Jubilee, The Tempest, and Caravaggio. As a director, he cultivated close working relationships with artists like Tilda Swinton and Dame Judi Dench—and even convinced Sir Lawrence Olivier to come out of retirement for what would be his last performance. In addition to his presence on the film scene, he remained relevant in pop culture as part of the 1970s London social scene—directing music videos for Marianne Faithfull, The Smiths, and the Pet Shop Boys.
Jarman was prolific as a painter and a well-known and respected set designer for stage and film—notably for director Ken Russell. He was an outspoken and early advocate for gay rights and AIDS awareness until his death in 1994 from an AIDS-related illness. Jarman was perhaps one of the most well rounded artists of his era; he wrote memoirs, poetry, and social criticism. He also cultivated beautiful highly regarded, postmodern-style gardens, including his home at Prospect Cottage, Dungeness in Kent. On all fronts, he rejected straightforward, modernist visions or design theories. Of his gardens, he said, “Paradise haunts gardens, and some gardens are paradises. Mine is one of them. Others are like bad children, spoilt by their parents, over-watered and covered with noxious chemicals.”
Friend and muse Tilda Swinton wrote hauntingly of Jarman:
This is what I miss, now that there are no more Derek Jarman films: the mess, the cant, the poetry, Simon Fisher Turner’s music, the real faces, the intellectualism, the bad-temperedness, the good-temperedness, the cheek, the standards, the anarchy, the romanticism, the classicism, the activism, the glee, the bumptiousness, the resistance, the wit, the fight, the colours, the grace, the passion, the beauty.