A wall is a functional thing, at heart. It’s a support, a barrier, a fortification or a screen. Yet a wall can also tell a story on its surface: perhaps about the climate where the wall is located, the method of its construction, its age. And humans have enjoyed making their marks, in various ways, on walls for millennia.
I attended a function at the recently renovated Tasmanian Museum and Art Gallery the other day, much of which took place in a beautifully-lit basement. After admiring the graffiti from 1905, above, I found myself intrigued by the marks on the sandstone bricks, below (you can see the chisel-marks made by the poor labourer who was probably forced to make them).
Our rental house currently has little adornment on the fresh walls, but perhaps one day I’ll have free reign somewhere to decorate like mad. When that time comes I’ll have plenty to inspire me.
Below is a mural in a Moroccan dining room, featuring mirror fragments as the leaves of a broad tree. Under that is the shimmering design in the “Dove Room” at Helga’s Folly in Sri Lanka (where we got married… that’s another story).
An old exterior wall, with patchwork bricks, at the Tasmanian Museum and Art Gallery, below.
The amazing fabric-like floral embellishing the warehouse below was painted by artist, Michael Lin.
The walls in the above photos are located in a Marrakech villa owned by Franca and Carla Stozzani (the Editor-in-Chief of Vogue Italia and owner of 10 Corso Como). It’s hard to tell how they have been fashioned: they look like textured paintings.
Below is a delicate wall painting by Carolyn Quartermaine, part of a pretty pink room composition.
Photography: Moroccan interiors by Pascal Chevallier. Helga’s Folly picture (detail shown) by James Fennell for Vogue Living June/July 2003. Carolyn Quartermaine picture by Didier Mahieu for Vogue Living Jan/Feb 2005. Michael Lin picture not credited, found in Elle Deco, unknown edition.