Kew up for Moore

It is a perfect day. The sun is shining, the sky is blue and there's a gentle breeze in the air. No, this isn't Dubai; it is London. Kew Gardens to be precise.

From the time I was old enough to walk, I have been a regular visitor to the Royal Botanic Gardens in the United Kingdom's capital.

It began out of duty, playing tour guide to an endless stream of relatives out sightseeing during their holidays.

While always a good outing, it took me until my teens to begin appreciating the beauty of the place and realise the painstaking nurturing involved by an army of unseen botanists — simply for our pleasure.

Improving a gem

Stretching over more than 300 acres, Kew is truly a gem on the south bank of the Thames. It's a haven of tranquillity that you'd be hard pushed to improve.

But improve it they have — by using it as the backdrop to an
exhibition of monumental sculptures by Henry Moore.

Were he alive today, I am certain the English artist would have approved of the setting for 28 of his large-scale sculptures.

Starting from Kew's Victoria Gate, the first to greet me is the brilliant white Large Reclining Figure.

Striking in its size, and contrasting in colour with the manicured green lawn, this fibre-glass cast — the only example made from the lightweight material on display — is breathtaking when seen against the distinctive Palm House. Its beauty lies in its simplicity — an art Moore perfected over his lifetime.

Something about the smooth curves draws you around the body in search of an edge. And as you circle the shape, you realise that this static entity is alive.

With every step, its form changes. The light moves as you do and the clean lines get new angles to create a completely new impression; not to forget the different backdrops you will discover as you stroll around the sculpture.

This experience is just as the artist intended his work to be seen — free standing and capable of being viewed from 360°.

After indulging in a long pause at the first encounter, I moved on, conscious of the fact that there were 27 more sculptures to see before sunset. Luckily, I had started early.

Maximum impact

It is easy to be fooled by the genius of the landscaping elements at Kew.

To assume that here nature, at its best, just fell into place by chance would be as wrong as to believe that these sculptures were just strewn around without thought.

In fact, the positioning of Moore's pieces took three to four years of planning to ensure each was situated in exactly the right setting, against exactly the right vista and at precisely the right angle for maximum impact.

Plus, there is a method to the placement, whereby each sculpture will draw you to the next.

Moore himself was fascinated by landscape (he would never read on a train, choosing instead to look out of the window).

In 1973, he had said: “As well as landscape views and cloud formations, I find all natural forms are a source of unending interest — tree trunks, the growth of branches from the trunk, each finding its individual airspace, the texture and variety of grasses, the shape of shells, of pebbles … The whole of nature is an endless demonstration of shape and form; it always surprises me when artists try and escape from this.''

Crafting his glory

The approach to the Oval with Points is a magnificent tree-lined lawn stretching straight as far as the eye can see.

When you notice the placement of the bronze cast in the middle, you cannot help but be fascinated by this bold statement framing the view beyond.

Moore's inspiration for the piece was an elephant's skull.

Curved in form, its points are drawn to each other but do not quite touch, “creating tension'' in the impression.

One of my favourite exhibits is the Double Oval near the Orangery restaurant.

Designed to hint at a greater mass of bronze beneath the surface, the relationship between the two shapes is mesmerising.

Sections of each can be glimpsed through the hole in the other. The landscape in the background is also framed in the colossal curved structures.

And by then, you realise all these elements are entirely subject to where you stand and will present themselves afresh as you move around them.

These structures gleam golden in the sunlight and I wonder what they will look like when I am not there to observe them — as day turns to dusk; through rain, snow, wind and sun; as winter cedes to spring; and as leaves change colour, fall and sprout anew.

Perfectly still yet constantly changing, Moore's art is inspiration for the soul.

Mark of a man

Sir Henry Moore was born in Castleford, Yorkshire, UK, in 1898.

He was the son of a mining engineer who was determined that his eight children would not follow in his footsteps but would have a better life through education.

Moore's interest in clay modelling and in carving wood began at an early age.

By 11, inspired by Michaelangelo, the young artist already knew he wanted to be a sculptor.

Owing to his exceptional promise, the Leeds School of Art set up a sculpture studio just for him.

He went on to study at London's Royal Academy of Art where he also later taught.

Influenced by peers such as Barbara Hepworth and his contact with artists, including Picasso, Moore's work became increasingly abstract in the 1930s.

Around this time, his technique evolved from direct carving to creating maquettes in clay or plaster from which full-scale bronze casts could be made.

By the 1950s, the artist was receiving significant commissions that enabled him to expand the scale of his sculptures.

Success brought him considerable wealth, which he used to set up the Henry Moore Trust in 1972 (to protect his estate from death duties) and the Henry Moore Foundation in 1977 (to preserve his sculptures and promote public appreciation of art).

He died at the age of 88 at his home in Hertfordshire in August 1986.

Don't miss it

If you are planning a trip to London in the coming month, don't miss the Henry Moore Exhibition at the Royal Botanic Gardens, Kew, which continues until March 30.

The gardens and glasshouses are open daily from 9.30am to 5.30pm. Admission costs £12.25 (Dh88) for adults, £10.25 (Dh74) for discounts. Children under 17, accompanied by an adult, go free.

Visit: www.kew.org/henry-moore