Tait’s last effort to include hand-painted or drawn elements was a twelve minute film entitled Garden Pieces (1998). There, she adapts the technique of drawing on the film surface used in Numen of The Boughs. With this film, however, dense solid colours were added during printing to produce a very successful combination of colour shifts and line drawing interwoven into a live action film shot around her new house in Orkney. In 1994, Tait and her husband had moved to another house in Orkney which had a small quarry beside it. They saw this place as a ‘grove’, “a place for meditation and remembering.” 1)Pirie letter, 2000. There, she shot material for Garden Pieces which was finished in the summer of 1998. In a letter to David Curtis, she stressed how much money the film was costing her and that she would need to recoup some of it through sales of prints or long-term rentals. She wrote she just couldn’t “provide prints at my own expense anymore.” 2)Letter dated 14th May 1998.mentioning that about £500 would be appropriate for a sale. In August 1998, she wrote again to Curtis to tell him she’d “got this little film finished at last”, writing that it was due to be screened in the South West and hopefully in London. By October, she had news for him that it would be screened in Bristol, Munich and Berlin. By this time though, her health was failing (she had previously undergone major surgery and radiotherapy in the 1980s) and she did not travel with the films.
Garden Pieces is composed of three short ‘film poems’ under one title. They are ‘Round The Garden’ (‘right round and round again’), ‘Garden Fliers’ (‘flighty cartoon and a stunner of a piano piece’) and ‘Grove’ (‘grave and sonorous’). 3)Descriptions are from the publicity flier Tait had made. The film begins with Tait’s voice-over introducing the titles of the three sections. ‘Round The Garden’ is a series of clockwise pans from a tripod placed in their sunlit garden. ‘Garden Fliers’ is almost entirely animated ink drawings on a solid background of colour. Like Numen, the drawings ‘shiver’ yet there is also an element of ‘dance’ as in her earlier hand-painted films – butterflies, birds, flowers, circles and stars move quickly to the music of the piano. The colours shift suddenly from dense purple to vivid green, then to a rich blue, solid red, back to green and then pale blue, and so on. Often with each change in colour, a new shape appears such as leaves with green and flowers with red, though this does not appear to be a strict rule. Finally, at the end, the animation cuts back and forth to a poppy head, ending the second section before Tait’s voice introduces ‘Grove’. The third film is similar to the first yet this time the location is the quarry. The camera follows the light on trees, bushes and shrubs and the area is awash with bright, vibrant green foliage. The final shot is of a cat, moving away.
References [ + ]
|1.||↑||Pirie letter, 2000.|
|2.||↑||Letter dated 14th May 1998.|
|3.||↑||Descriptions are from the publicity flier Tait had made.|