Jonathan Meuli - The Art Of Making Wine Take me to exhibition details
Iram indeed is gone with all its Rose,
And Jamshyd's Sev'n-ring'd Cup where no one knows;
But still the Vine her ancient Ruby yields,
And still a Garden by the Water blows.
from The Rubaiyat of Omar Khayyam (translated by Edward FitzGerald)
The pigment pattern of the skin of Vitis vinifera varies from light greenish yellow to russet, to pink, red, reddish violet, or blue-black; the juice is generally colourless, although some varieties have a pink to red colour, and the flavour varies from quite neutral to strongly aromatic
from Encyclopedia Britannica
"As the title suggests, this is a body of work about wine - about making it - the pruning the gathering and the pressing, the fermenting and the processing.
These paintings are the result of a fifteen month stay in the wine-making commune of Marigny Brizay in the Haut Poitou. Marigny lies on the slopes of a low chalky escarpment that rises above a great chequered plain full of sunflowers and maize that stretches southward from the Loire for mile upon mile. We stayed there as a family.
The vineyards that I was mostly painting belonged to the Chateau des Roches. Others belonged to Ampelidae (www.ampelidae.com).
The paintings are about the whole of the wine-making process - and they form a loosely-structured narrative, but they are not a scientific documentation: they are a re-working of the aspects that I found were the most visually exciting. Some of these are nostalgic, like the hand-picking of grapes. Some are not, like the industrial and chemical processes that go to make the wine - an explosion of energy which takes place at the grape harvest each year.
I don't think that the paintings are specific to Marigny or Chateau des Roches, or even to France. They are about wine-making itself, which is much the same the world over. They are a celebration of the labour that produces the wine.
Colour. Colour and line preoccupy me more and more as I work on these paintings. Black is a colour that I took out to France from Scotland, and light yellow-green - the colour of the buds - the colour of the Vienne - is the colour that I brought home to Glasgow.
Quite a few of the larger paintings, in particular, are based on the triptych form. Sometimes there is an obvious triple division of the surface, sometimes you have to look for it more carefully. The triptych is a form which has always interested me. It enables you, within the context of one work, to present multiple views. There is no one way to look at things - no one truth." Jonathan Meuli