Latest news with #Garden
Time Out
4 days ago
- Entertainment
- Time Out
Kew Gardens has opened a major new attraction with more than 6,500 plants
Kew Gardens has been helping Londoners escape from stuffy city life for nearly 250 years, and ideally, it would continue to do so for 250 more. That may not be possible, however, if climate change continues unchecked; which is exactly what the attraction's brand new Carbon Garden wants to draw attention to. Kew Gardens' new Carbon Garden is 'a curated selection of herbaceous perennial' or, in layman's terms, a long-term exhibition full of nice-looking, carbon-eating plants. It opened last Friday (July 25) and its goal is to illustrate to visitors through the medium of 'plant' just how severe the climate crisis is getting, and the role that nature has in combating it. Did you know that fungi could be valuable warriors in the fight against global warming? You certainly would after a trip to the Carbon Garden. In terms of what you'll be able to see there, it's pretty varied. Each plant selected, from flowers to trees to hedges and grass, demonstrates a different way in which carbon can aid or hinder the natural world. Built around a circular path, your journey begins in a 'dry garden', which includes a selection of 'drought-tolerant' plants, and ends in its rainy equivalent, built to show how we can 'manage water flow' in a climate-friendly way which draws carbon out of the air and into the ground. Right at the centre is a unique mushroom-shaped sculpture 'inspired by the symbiotic relationship between plants and fungi'. This also doubles as a bit of shade from the sun or shelter from the rain for us humans, and will facilitate school trips and community projects. Maybe mushrooms really are our friends. Richard Wilford, who designed the garden, described it as 'a unique opportunity to showcase our ongoing research, combining scientific insight with thoughtful design and beautiful planting to highlight the role of carbon in our lives,' adding; 'We hope the Carbon Garden inspires visitors to act and join us in shaping a more sustainable, resilient future for life on our planet.' You can access the Carbon Garden with a regular Kew Gardens ticket or pass. Even though the iconic glasshouse is shutting down for renovations, hopefully this means your visit to the Richmond park is still worth your time.
Otago Daily Times
23-07-2025
- Entertainment
- Otago Daily Times
Sculpting reflections
Auckland artist Viky Garden is drawn to pushing boundaries and exploring unconventional materials and methods. She talks to Rebecca Fox about turbulent times and taking risks. Using her hands to produce work has been a "welcome relief" to the emotional chaos Auckland artist Viky Garden has been experiencing. Dealing with the failing health of her parents has profoundly changed Garden's emotional footing. But it was a request to give a talk about her career, that really shook things up for Garden. Having spent days going through images and notes, some from decades ago, she found the talk went surprisingly well. "The following day, however, found me literally beached — the creative result of this was that I had virtually talked myself out of painting. "I found I had explained myself away. Painting as a language no longer resonated and I simply couldn't make more language up if I tried." For an artist known predominantly for her painting, primarily self-portraiture, taking a step into the less familiar world of sculpture has been a "huge risk". "However, compared to standing in front of a blank canvas, I found working hands-on with the sculptures to be psychologically and physically therapeutic." Despite the turbulence that came with deciding not to paint in 2024, she is thankful she did not bow to external pressures. The unexpected bonus to the whole situation, she says has been the realisation she is capable of creating strong work with new materials. Some of those materials were found on walks to calm her mind, such as the dried wild iris pods she collected. "I realised how sculpturally beautiful the dried seed heads were, so I brought a bunch of them home to my studio." Garden's curiosity thrives on finding "lo-fi approaches" to perceived high art. "After all, painting materials are merely cloth nailed or stapled on to bits of wood — nothing more. "It's really no different when thinking about what materials can express or represent a sculptural idea." Over the years she has been drawn to pushing boundaries and exploring unconventional materials and methods from pinhole photography — she has won international awards in Barcelona, Spain in 2018 and 2020 — to intaglio prints using tetra paks as an engraving plate. "I enjoy bringing a modern, recycled twist to traditional processes." She has found with sculpture, exploring non-traditional materials has opened up new ways to challenge perceptions of form, texture and meaning. "Art has always been a solo journey for me but with no boundaries in experimentation and opportunity and failure. "Sculpture was no different to painting when it came down to it." Out of this journey came three components, created over a year, which flow on from one another — The Agony of Flowers , Crucibles and Mugshots — and are to be exhibited at Fe29 in Dunedin this month. Agony of Flowers started out as a hard plaster sculpture but the flower head was too heavy for the barbed wire stem so she attempted the concept in papier-mache. "Again it was a case of trial and error but with the right glue and a solid foundation within the flower itself, it proved the right choice. The barbed wire came from my girlfriend's uncle's farm which they were clearing at the time. "I often think part of my creative practice comes down to what's presenting itself to me at any specific given time. "It's a case of keeping my eyes and my mind wide open." For Garden, who has been a finalist in both the Adam and Parkin prizes, each flower holds a suggestive, elegant pose as expressive to her as the human form. "It was a very short step to then work out how to achieve the same poignancy or vulnerability in the form of statues — which became Crucibles — without repeating what already exists in sculpture when it comes to the statue's faces." Crucibles extends her ongoing conversation about the female experience and she knew a very tough granite plaster would be needed to create the solid forms. "I was learning as I went along." The figurative forms of the Crucibles are directly influenced by a series of paintings from 1996, The Sisters of Mercy . "So they are an extension or continuation of a long conversation about my experience in the world." She then encased the forms in vintage sewing patterns. "By using the sewing pattern tissue as 'skin', the pattern's text became a sort of codified language of 'pattern speak', a subtle form of communicating socio-political messages without stating the obvious." An offshoot from that is Mugshots where Garden used her hands, as she does with sculpture, to paint with. "It's fair to say an invisible thread links all three components." Garden, who was born in Wellington but lives in Auckland, describes the time as emotionally exhausting because much had changed and each new day seemed to have issues she had little or no experience dealing with. "I see it in the work, the vulnerability as much as the tenacity of the pieces. I have always had a close relationship with my work. When I have an idea, I try really hard to distil or strip it back to basics, which then gives me something to play with and make my own." When considering aspects of dementia, which her mother has, Garden did not want to express it with paint. Instead she created a series of 40 individually hand-etched prints The Dementia Pear (2023) — etched and printed using tetra-packs as the plate. "The lines and shadows in the prints are delicate and fragile and vulnerable, each one unique. A lot of that same pathos is in The Agony of Flowers sculptures." Years ago she created lino prints because lino is what generations of women stood on in kitchens and laundries. "So, when it came to covering the plaster Crucibles , it had to be with something that gave voice to the pieces in a very subliminal way, and the vintage sewing machine patterns ticked various boxes for me." As a female artist who has expressed personal narratives through self-portraiture for decades, she is "intimately aware" that what is personal for her is also universal for many women. "I'm post-menopausal now. Metaphorically, it's a new canvas and a new set of brushes. That's how I feel about it and I have no doubt that my new work will reflect this, in one way or another." Despite the works holding a mirror to her own stories, she does not feel self-conscious or vulnerable when they are exhibited. "When it comes to paintings in particular, it's not about 'me' it's about 'her'." Garden, whose Greek father and Polish mother came to New Zealand as refugees escaping war-torn countries, has been painting self portraits since she was 15. Self-portraiture just always appealed to her. "She looks at me today with such an honest intensity — a maturity beyond her age, she's still relevant, current. I am still her." The need to draw has always been with Garden but art was not considered to have a future so she was encouraged to become an office worker. "I have a couple of early memories: one collecting the melted tar off the sides of the road in summer and fashioning small statues, the other is helping Dad sieve enamel paints from one tin to another." After being tutored by Wellington artist Vivian Lynn (1931-2018), Garden began to take her talent seriously and then she met her future partner Steve Garden who told her she could do anything. When in 2005 her dealer Judith Anderson told her it was "time to leave the perch", she became a fulltime artist. "No-one had said that to me before. I was a late starter. I had my first solo show in 1989 — my exhibition with Fe29 will be my 28th solo show." While she began painting in oils — she wanted to learn to paint "properly" — but found after a few decades she was not enjoying it so she loosened up her medium using pencils and leaving negative space on the canvas. "Dissatisfied and rather depressed, one summer I stopped altogether and didn't paint for three months. I thought if I'm going to try something new, then my approach has to be different too. I abandoned my brushes in exchange for bits of cardboard and sticks and used liquid acrylic as I didn't want anything coming out of a tube similar to oils. I've been working with acrylics since the beginning of 2016 and still enjoy the process." These days her works are created in a modified garden shed in her backyard. She moved there from a room off her lounge as her work expanded and tries to get into her studio daily — "the longer I delay getting into my studio the worse I am to be around". "The studio ceiling has a nice pitch so I can put larger works on my easel. I won't work in chaos. That's not to say I don't know how to make a mess, but I need clarity and visual calm." TO SEE Viky Garden: "A Year" — sculpture & painting, Fe29 Gallery, July 25-September 1.
Hindustan Times
21-07-2025
- Entertainment
- Hindustan Times
One for you, one for me
We learn some properties of numbers early in life, such as all products of 9 having a digital root of 9, and all single-digit multiplications with 37 leading to products with three repeating digits. Other properties may pass unnoticed for years until they are presented to us in the face, and we wonder why we hadn't noticed it all along. Representational image.(Shutterstock) The following puzzle exploits a property I had not noticed until I first read and solved the puzzle some three decades ago. Martin Gardner was particularly fond of it, and credits it to two readers who brought it to his notice separately. My version tweaks the original described by Garden. The puzzle may seem to lack enough information when you first read it, but think a bit and you will find it is as easy as it is enjoyable. #Puzzle 152.1 A publisher hands a number of copies of a school textbook to two vendors. The deal is that the book is to be sold at its cover price, with the vendors receiving a commission based on the number of copies they sell. By coincidence, the number of copies sold turns out to match the commission in rupees per book. That is to say, if the commission is x rupees per book, then they have sold exactly x copies. The publisher pays them the commission in ₹10 notes and ₹1 coins, the number of coins being less than 10. Having no other cash in their pockets, the vendors decide to share the notes and coins in the style of Blondie and Tuco in The Good, The Bad and The Ugly. 'One for you, one for me,' Vendor #1 says, beginning to distribute the ₹10 notes. 'One for you, one for me…' And so on, until the last note is reached: 'One for you.' It strikes Vendor #1 that he has handed Vendor#2 the first note as well as the last. 'Hey, you got ₹10 more than I did because the number of notes was odd.' 'Never mind,' says Vendor #2, 'you keep all the ₹1 coins.' 'But that's less than 10 coins and so less than ₹10. You still end up with a higher share of our commission,' says Vendor #1. 'Never mind,' Vendor #2 repeats himself. 'Let me pay you the difference.' He opens his UPI app, and makes the transaction. 'There, we now have equal shares.' How much does Vendor #2 send Vendor #1 by UPI? #Puzzle 152.2 A pet shop manager assures a customer that the parrot he is offering will repeat every word she hears. The customer tries to check this out but the parrot is fast asleep, having been drugged by the manager. To make sure he is not cheated, the customer makes the manager put the assurance in writing: 'Guaranteed that Parrot #152.2 sold to [customer's name] in July 2025 will repeat every word she hears, failing which the payment of [amount] shall be returned to the customer.' Thus assured, the customer buys the parrot. At home, when the pet wakes up, the buyer says 'Hi!' No reply. He tries various other words, but not a word from the parrot. The buyer rushes angrily to the pet shop, but the manager refuses a refund claiming no terms have been breached. The buyer goes to the local don for arbitration. To his disappointment, the don rules in the manager's favour. Explain why the manager hadn't bluffed. MAILBOX: LAST WEEK'S SOLVERS #Puzzle 151.1 Hi Kabir, Here is how the mathematical trick with cards works. The digital roots of the numbers from 43 to 51 are: (43 = 7), (44 = 8), (45 = 9), (46 = 1), (47 = 2), (48 = 3), (49 = 4), (50 = 5), (51 = 6). We can see that the sequence of digital roots matches the sequence of cards 7-8-9-1-2-3-4-5-6. Whatever the number of cards added to the pile of 43 cards, the new digital root will match the card that is not transferred and turned face up. Also, note that the digital root of any number will remain the same even after splitting that number into two or more parts and adding the digital roots of those parts. — Shishir Gupta, Indore #Puzzle 151.2 Hi Kabir, The four cards are, from left to right, are: Queen of Spades, Ace of Hearts, Jack of Clubs, King of Diamonds. — Aditya Krishnan, NMIMS Mumbai Solved both puzzles: Shishir Gupta (Indore), Aditya Krishnan (NMIMS Mumbai), Vinod Mahajan (Delhi), Dr Sunita Gupta (Delhi), Anil Khanna (Ghaziabad), YK Munjal (Delhi),Sanjay Gupta (Delhi), Professor Anshul Kumar (Copenhagen), Ajay Ashok (Delhi), Yadvendra Somra (Sonipat) Solved Puzzle 151.2: Dr Vivek Jain (Baroda) Problematics will be back next week. Please send in your replies by Friday noon to problematics@
Yahoo
19-07-2025
- Business
- Yahoo
Greenyard family founders secure majority share in takeover bid
The Deprez family founders of Belgium fruit and vegetable group Greenyard have successfully secured a majority share in the business as part of a takeover. Hein Deprez and his family launched a takeover offer for Brussels-listed Greenyard in April, seeking to purchase shares they did not already own in the business from shareholders. A new holding company was set up to house the family's existing 37.7% interest, along with any newly acquired shares - Garden based in Luxembourg. In a statement today (18 July), it was revealed that Garden, effectively the Deprez family, has now taken its ownership to 94.71% of Greenyard's shares as part of the bid process. The tendered price for the shares was €7.4 ($8.6) each, the same price as the initial offer put forward in the April announcement. Payment will be made no later than the 4 August, according to the statement. Despite not meeting the 95% acceptance threshold set forth in April, Garden has now waived that requirement but will reopen the bid offer on 24 July until 13 August. 'Shareholders who have not yet accepted the offer will have the opportunity to tender their shares in the offer during this subsequent acceptance period,' Garden said, with the aim of eventually acquiring 100% of Greenyard's shares. The acquisition strategy is supported by Solum Partners, a food and agriculture investment manager headquartered in Massachusetts. It will co-control Garden with the Deprez family after the transaction. Greenyard will be delisted from the Euronext Brussels exchange once full control is achieved. Mr Deprez founded what was then Univeg in 1987 before the company became Greenyard. In 2015 a merger between Greenyard, Univeg and agribusiness Peatinvest emerged, with Hein Deprez owning shares in each of those businesses before the deal was completed. Under previous notifications, Greenyard aims to reach €5.4bn in annual sales by March 2026, along with an adjusted EBITDA of €200-210m. In the first half of the current financial year, sales rose 6.1% to €2.6bn, driven by price increases and volume growth. Adjusted EBITDA increased 4.6% to €94.4m, while net profit was €1.2m. In the recent full financial year (2023/24), Greenyard's sales increased 10.9% to €5.1bn. Adjusted EBITDA rose 11.5% to €186.5m, and net profit was up 63% at €15.2m. "Greenyard family founders secure majority share in takeover bid" was originally created and published by Just Food, a GlobalData owned brand. The information on this site has been included in good faith for general informational purposes only. It is not intended to amount to advice on which you should rely, and we give no representation, warranty or guarantee, whether express or implied as to its accuracy or completeness. You must obtain professional or specialist advice before taking, or refraining from, any action on the basis of the content on our site. Error in retrieving data Sign in to access your portfolio Error in retrieving data Error in retrieving data Error in retrieving data Error in retrieving data
The Sun
14-07-2025
- Entertainment
- The Sun
Love Island shock as two islanders sneak off to get cosy in the Hideaway – behind their couples' backs
A SURPRISE pair sneak off to the Hideaway tonight for some privacy behind their partner's backs. Shakira and Conor decide to revisit their unexplored connection and sneak off to enjoy some alone time. 4 4 4 While getting cosy in the hot tub, Shakira warns Conor: 'No smooching!' 'Why?' Conor asks. Shakira replies: 'Because then I have to go and have that conversation…' 'So you don't want to?' Conor, who is coupled up with Emma, teases. Standing firm, Shakira cheekily replies: 'I do want to… You're really pushing the luck of the Irish right now.' Afterwards, when the pair return to the Garden, Ty, who is in a couple with Shakira, watches on as Conor high fives some of the other boys. 'He looks like he's just scored a hat-trick,' he tells Cach about Conor. Elsewhere, Toni and Harrison's secret rendezvous on the Terrace send shockwaves through the Villa. Toni meets Shakira and Yasmin in the Den and they aren't amused. As if in trouble she tells them: 'You guys look like my angry parents.' 'Get her out' rant Love Island fans as they 'complain to Ofcom' over 'bullying' Sarcastically, Yasmin explains: 'We're not angry, we're just disappointed.' But Shakira presses: 'Where is your self respect?... Why would you go up with him in the first place?' Toni confesses: 'Because I miss him… I want him back guys.' Exasperated, Yasmin jokes: 'No, we're not doing this.' Shakira delivers Toni a home truth: 'The pride has to be stronger than your feelings babe.' 'I'm putting my pride aside…' Toni tells the girls to their disappointment. Upon his return to the garden, an emotional Lauren confronts Harrison about his secret chat. 'I can't do it…' she tells him. 'I like you so much and it hurts… I don't want you to get someone else.' He assures her: 'You know I like you too.' 'Not enough,' she concludes. 4
