Plant containers are popular as decorative elements in the garden. A well-placed large pot can provide a focal point, and a strategically arranged series of pots can lead the eye throughout a planned tour through the garden.
The color of a container can also contribute to the aesthetic of landscape by complementing plants in or near the container or by creating a visual exclamation point in a primarily green environment. Many containers in the garden marketplace are neutral in color, but bright hues are readily available as well, and color patterns have been appearing in recent years.
Containers provide familiar artistic forms in the garden, and can also support plant growth. Empty containers can stand alone as artworks, as well. Containers of all sizes can function like sculptures at more affordable prices.
Gardeners also experiment with other low-cost alternatives to sculptures: bowling balls, wine bottle trees, farm equipment, and porcelain accessories of the home have been striking and even unforgettable sights in some gardens.
A novel use of plant containers could be as elements of a thematic landscape.
In these columns, I have from time to time advocated a thematic approach to garden design. Many possible themes could provide an identity for some or all of a garden, and thereby support a rationale for plant selection.
Garden themes oriented to a single plant genus, e.g., roses, irises, dahlias, are quite familiar. Other themes emphasize a color combination, or one color, like the historic white garden of England’s Sissinghurst Castle.
My garden has several thematic beds. The largest beds are dedicated to each of the world’s five summer-dry climates: the Mediterranean basin, South Africa, southwestern coast of Australia, the central coast of Chile, and coastal California.
These beds might need to be identified for visitors, because most will not immediately recognize the origins of plants. I have considered placing an identifying sign in each bed, but would rather avoid that institutional look.
Another method for identifying a geographically defined bed might be to place in the bed a large container from that part of the world. Assuming that the visitor will recognize the container’s country of origin, it might serve to identify the bed.
To date, that idea has succeeded in exactly one instance. A Talavera pot now marks a bed of succulent plants from Mexico, which is not one of the world’s summer-dry climates.
The accompanying photo shows this pot with a young specimen of Agave applanata ‘Cream Spike’, from Mexico.
Many garden centers have at least a few Talavera pots. Authentic Talavera pottery comes only from the very old city of Puebla, in southeastern Mexico, but many products come from other sources. Regardless of authenticity, Talavera pottery is strongly associated with Mexico.
A fairly good marker for the bed of plants from the Mediterranean basin is a terra cotta container that suggests a Mediterranean style, confirmed by an image search of the Internet. The casual visitor, however, might find its message to be ambiguous.
Garden centers offer a good variety of plant containers, but few refer clearly to a country of origin. For example, the city of Pomaire, south of Santiago, is famous for its pottery, but when taken out of context, the pots do not identify as Chilean.
My search for thematic plant containers has yielded information about the world’s pottery traditions, and concluded that there is no good substitute for a sign. My next step is to try hanging clay nameplates on the pots. I’ll report on that approach in a future column.
Gardening can lead us in unexpected directions!