erched on a hillock in Hydra, Jeff Koons’s Apollo wind spinner is hard to miss. The gargantuan sun sculpture welcomes visitors at all hours, its golden rays and face a vibrant reminder that art is alive and well on this Argo-Saronic isle. If the 9.1-metre spinner were not enough, Koons has also turned the slaughterhouse on which it stands into a shrine dedicated to the sun god.
“So many of our heroes, so many of our idols were here,” says Alexis Veroukas, a Greek painter who moved to the island a decade ago. “It is not too much to say it is a holy place, the Mount Athos for artists.”Photograph: funkyfood London/Paul Williams/Alamy The rhythms of island life – waking up early, working through to midday and then gathering at the port as the steamers and ferries came in – were not only conducive to work but ripe with the possibility of self-discovery. Often, members of the colony would meet to show one another the fruits of their labours in what, for Pownall, were hugely stimulating interactions.
Long before Cohen’s appearance, people looking for an alternative way of life had begun to arrive on Hydra after Henry Miller, memorably describing it as a “rock which rises out of the sea like a huge loaf of petrified bread”, put the island on the map in The Colossus of Maroussi.
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