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ART

“from one of the largest wellingtonia in Scotland to fully areas of the garden into the more formal ones. One of Tober’s
mature specimen trees such as fern-leaf beech, Irish yew, favourite features is 200m of alternating laburnum and
Turkish oak, redwood and silver birch. We have a huge col- rhododendron over the burn to the east of the house: “In
lec tion of rhododendron species, azaleas and many species flower, it is an absolutely spectacular display. You have to
of magnolia. My favourite magnolia, sieboldii, self-seeds learn over so many years that the garden forever changes but is
everywhere within the microclimate in one part of the garden.” always beautiful. Be brave is my mantra.”
Mature acer, weeping willow, weeping ash and golden The family split the work between them. “My father, also
ash add colour and drama to the treeline, while extensive Tober, is chief groundsman. I fell and plant trees and my
herbaceous borders and open lawns make the perfect foil for mother, Vera, is in charge of the beds and hanging baskets. She
Gwisa’s bold, organic shapes. has the veto on all matters. It is very much a family effort.”
“The biggest challenge is nature itself,” says Tober. “The Tober junior, however, picks the sculptures. He was
secret we have found is to shape rather than banish it. So immedi ately drawn to Gwisa’s choice of materials, hard
foxgloves and wild flowers such as red campion, poppy, Zimbabwean springstone, which is dark with hints of bronze
bluebells and grasses are to a large extent left to spread and and green. “I look at the complexity and technical composition
blossom. The pine woods have been thinned over time and the of the works. I’m looking for three-dimensional works that
beech trees allowed to dominate. This means wood sorrel and have an abstract and organic form that changes with the angle
wild honeysuckle thrive.” it is viewed.”
Most of the hard work has been on the lawns and herba- As a performer and teacher, he admires the technical skill
ceous borders. A firm hand with the rhododendrons has involved in creating a Mobius strip from a hunk of stone. “I
created space for more ornamental varieties and colours. don’t believe an artform can exist on concept alone. Peter’s
It’s always sad to lose an old friend, and some of the old breathtaking technique of working solid stone in such complex
specimen trees have gone in storms. But this creates an ways is something I respond to very strongly. He believes that
opportunity: “Once the devastation is cleared, we can add every rock he sculpts has a spirit and the shapes are dictated by
new species, colour and texture.” Innovations include beds how that spirit is freed.
of hostas and other semi-shade species blending the wilder “The endlessly beautiful organic nature of these shapes

HOMES & INTERIORS SCOTLAND