ABOUT MADOO
Madoo is an artist's garden. Situated on two acres on the south shore of eastern long Island, it was opened to the public on July 10, 1993.
When first seen by the artist in 1966, the land held a random collection of eighteenth-century shingled sheds and one huge double-sectioned barn dating from 1740. There were no trees, bushes, ponds or paths, and the property, known as "turnaround land," had never been farmed. From the outbuildings the new owner constructed two Studios and two houses, one for summer use and the other for winter. Utility and storage sheds were added as they became locally available.
In 1967, the garden was begun in the small ell at the junction of the summer studio. Originally it bad no fixed paths; concrete sets were placed on top of the earth and moved, as necessary, out of the way of burgeoning plants. This gesture established a fundamental attitude of the garden -- plants are the dominating forms, structures are secondary. Bent always on the creation and discovery of new combinations and forms, the artist has shaped the garden in much the same way as he approaches raw canvas --spontaneously, all gestures being the result of an accumulation of experience.
Through the years, the garden has emerged, creeping bit by bit towards the property lines, always in transition, its vital signs regularly enhanced by subtle maneuvers. A few constants are evident, such as an unusual and somewhat radical pruning technique, a goodly amount of whimsy, and a bold use of color on the outdoor furnishings, which are sometimes repainted to complement nearby blooms and foliage.
The name Madoo derives from an old Scottish word meaning "my dove".
In 1994, The Madoo Conservancy was formed as a New York State not-for-profit corporation which is tax-exempt under 501C(3) of the Internal Revenue Code as a public charity. Mr. Dash has since deeded over the entire two-acre property, together with the two residences and other structures on it, to the Conservancy for the benefit of the community. He retains a life tenancy, and when Mr. Dash ceases to garden, a curator will be appointed to continue his unique vision. The current operating costs are borne solely by the generous support of members, income from tours, visitors' admission fees, individual contributors and Robert Dash.