“One face haunted me for a long time, and I knew that I had to paint it,” says Natalia Satsyk, a Ukrainian artist whose exhibition is currently on display at the St.-Adelbert Abbey in the Dutch town of Egmond-Binnen. The face gazes from her canvases. Sometimes it resembles Congolese masks, elongated and sharply defined. Sometimes it is rendered with bold strokes and dramatic colors. The gender may be obscured, as is the body to which it is attached, and what strikes me the most is the depth of sorrow and the pain I see in its eyes. And also the radiance of hope.

One of the unexpected outcomes of the independence achieved by Ukraine in 1993 is the vibrant art scene. Despite political and economic problems and meager state support, artists gave cities like Lviv, Kyiv and Kharkhiv a vitality they hadn’t experienced since the avant-garde of the 1910s and 1920s, a period that produced works by Kazemir Malevich, David Burliuk, Aleksandra Ekster, and other leading futurists. Satsyk is based in Lviv, a town in the western part of Ukraine, and she’s a part of the new, dynamic movement of young artists who are not afraid to take risks and question conventions.

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“Create poetry from the silence of tulips and roses,” wrote poet Allameh Muhammad Iqbal (1877 – 1938), reminding us that out of contemplation arise thoughts and actions. Iqbal is also known as “the spiritual father of Pakistan” and his philosophical treatises are still being widely read and analyzed. But it was his mystical, introspective poetry that I grew to admire for its themes of compassion, love, yearning for knowledge, overcoming divisions and parochial concerns. Any poet whose idea of paradise includes Rumi and Goethe engaged in a conversation is someone I want to know.

From the sensory perspective, Iqbal’s poems are also fascinating. They are full of fragrant references, using aroma as the symbol for the divine, the perfect, and the mystical. But what happens when the source of such perfection is destroyed?

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We have our “Recommend Me a Perfume” thread this week. You can use this space to ask any questions about perfume, including fragrance recommendations.

The photo below is of a bluebell forest near Brussels. This forest was destroyed during WWI and most of the trees we see today have been replanted in the 50s. But the wild hyacinth bluebells regenerated on their own and every spring they turn the Hallerbos into a blue tinted and intensely perfumed fairy tale. In Bluebell Forest of The Hallerbos, I described my Belgian springtime ritual. Happy Easter!

How does it work: 1. Please post your requests or questions as comments here. You can also use this space to ask any fragrance related questions. To receive recommendations that are better tailored to your tastes, you can include details on what you like and don’t like, your signature perfumes, and your budget. And please let us know what you end up sampling. 2. Then please check the thread to see if there are other requests you can answer. Your responses are really valuable for navigating the big and sometimes confusing world of perfume, so let’s help each other!

To make this thread easier to read, when you reply to someone, please click on the blue “reply” link under their comment.

Photography by Bois de Jasmin, all rights reserved

Brussels has an image problem. Its city planning suffered from an overly strong infatuation with brutalist architecture in the 60s and resulted in stupendously hideous constructions, which include some of the EU buildings. The tug of war between the regional governments–and the arcane laws–leave the city underfunded and disorganized, and construction projects can drag on for years. The bureaucracy is byzantine, and getting mundane things done, like opening a bank account or registering oneself with a commune, often turns into one of the labors of Hercules. The weather also doesn’t win bonus points. “Why on earth Brussels?” asked my mom when I told her that we were moving.

My first impression of Brussels on a freezing winter day was unpromising. I emerged out into the chaotic area near the Gare Centrale and found myself in a grey tinted mash up of 19th century curvy facades and faceless cement boxes. By the time I reached the Grand Place, I had to pass through so many rings of tacky haunts selling cheap souvenirs and touristy trinkets that even the elegance of the Renaissance guild houses inside the central square seemed compromised. Eventually my husband and I made our way to Quai aux Briques, an esplanade dotted by baroque and medieval buildings. We drank hot chocolate as rain darkened the façade of Sainte Catherine church and turned the square into an Impressionist painting–and suddenly the city felt like a place where I could live.

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“If God gave ferns a scent, they would smell like Fougère Royale” is a sentence supposedly uttered by perfumer Paul Parquet who in 1882 created one of the earliest modern perfume legends, Fougère Royale for Houbigant. And so, you hear again and again the same story of ferns (fougères in French) being scentless and Parquet being the genius responsible for the first perfume that “didn’t imitate nature.” That Parquet was a creator of remarkable skill is beyond doubt, but are ferns really scentless?

For many years I thought so, but today I’ll gladly admit my mistake. There are numerous varieties of ferns, and even the ones with the most delicate of scents have a distinctive odor. In my new FT column, Fougères: fern-inspired perfumes, I explore my botanical discoveries and discuss some of my favorite fragrances in this ever popular family.

Extra reading: Perfumers on Perfume : Paul Parquet and fougère perfume reviews.

On a related topic, do you have any perfumes that evoke the smell of a forest to you?

Left image: Estonian forest, photography by Bois de Jasmin. Right image: Fougère Royale for Houbigant ad.