Garden of heavenly delights by Mona Ryder 1989

This work is a watercolour on paper and measures 43 centimetres tall by 41 centimetres wide. This work is one of eight watercolours displayed closely together on a purply pink, musk stick candy coloured wall in the entrance of the art museum.

In the centre of this particular work, painted in watercolour, we find a fountain with water shooting out and down against the background of a cool blue sky. Starting from the far left-hand side is a tree similar in aspect to a weeping willow. Only part of this tree is shown and working from the top of the tree we find long branches, arching and falling before almost grazing the ground. The arms of the tree are spindly and thin like the strands of curly hair when wet. It is painted in dramatic warm reds and oranges.

On the other side of the fountain on the far right, near the top corner of the work is a thriving fruit tree covered in green, leafy foliage, heaving and laden with ripe yellow and brown skinned pears.

Within this scene in front of the fountain, lie two naked lovers, painted with pink skin tones. Their bodies are entwined, as they lie horizontally together, in the garden towards the bottom of the work. The upper figure reaches across the lower figure to cup their breast within their hand while bending their head as if to place a kiss upon her forehead while the lower figure looks out into the distance.

The allegorical quality of Mona Ryder’s work whereby, a picture can be interpreted to reveal a hidden meaning, typically a moral or political one, can be seen once more in this Garden series of watercolours produced in the late eighties and early nighties.

Journalist Michael Richards writes the following on this series, “Reflection on Adam and Eve and the notion of original sin is unavoidable. …floating and swirling figures in a world that blends a surreal magic and colour reminiscent of Chagall with an expressionistic angst worthy of Munch. These are lyrical and disturbing works” (Richards, M. Courier Mail, July 31, 1990).

The work is displayed in a light oak frame and the artist has signed her name in pencil in the bottom right-hand corner and provided the date 15 January 1989.