Sunflowers on the walls in London’s Mayfair

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SINCE TIME IMMEMORIAL artists have been influenced and inspired by creators who preceded them. In the case of the German artist Anselm Kiefer (born 1945), he has been both influenced and inspired by Vincent Van Gogh (1853-1890), who was born almost a century before him. Both artists have broken boundaries, and explored new ways of expressing themselves in painting. At two Mayfair galleries, White Cube (Mason Yard; until 16 August 2025) and Thaddeus Ropac (in Dover Street), you can see some of Kiefer’s paintings that illustrate his response to Van Gogh, and in particular the Dutch artist’s depictions of sunflowers and wheat fields.

By Anselm Kiefer

At the age of 18, Anselm Kiefer made a journey following in the footsteps of Van Gogh. The White Cube’s website revealed the route he took:

“… from the Netherlands to Belgium, Paris, and finally to Arles, where, in the final years of his life, Van Gogh created many of his most iconic works.”

It is those works painted in Arles that are reflected in Kiefer’s creations that are on display in both galleries as well as in a temporary exhibition in London’s Royal Academy in Piccadilly. Almost all of Kiefer’s images at White Cube and Thaddeus Ropac contain sunflowers and/or depictions of fields of agricultural crops. Unlike Van Gogh’s paintings, there are no human figures depicted in Kiefer’s artworks. In one of them, there is a flock of menacing looking black birds with wings outstretched. Kiefer’s crops made by sticking materials onto his canvases look much more sinister than the often-vivid depictions of agricultural landscapes created by Van Gogh. In their own ways, both Van Gogh and Kiefer portray the world as a disturbed place. In the case of the Dutch artist, this might have been due to his psychologically disturbed state of mind when he was in Arles. In Kiefer’s case, one must remember that he was born at the end of WW2 in a country devastated by conflict and the horrendous dictatorship that preceded it.

Although I am often less than convinced by pairing and comparing two artists in exhibitions such as that at the Royal Academy, but putting Vincent and Anselm side-by-side is both intriguing and appropriate. Having viewed the Kiefer works at the two Mayfair galleries, I now look forward to seeing how the Royal Academy’s curators have dealt with the relationship between the two artists.

Two swans perched on a post box in Henley-on-Thames

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TODAY WE PAID a brief visit to Henley-on-Thames. As we walked along the town’s picturesque Market Place, we noticed a post box (pillar box) on the top of which there was a beautifully knitted (or crocheted) pair of swans, one a white adult and the other a grey youngster. This creation was tightly fitted to the convex top of the red post box. It is an example of a ‘post box topper’. All over the parts of England that we have visited during the last few years we have seen many examples of these handmade knitted or crocheted ‘toppers’. The swan topper in Henley is a particularly attractive example. The people who make these decorative woolly hats for post boxes are sometimes known as ‘yarn bombers’.  

I wondered about the history of the toppers. All I could discover was in an article published online in northwichguardian.co.uk on 19 June 2021. It revealed that the Post Office:

“… first began to see these toppers in 2012 over the festive season, although this soon spread to other key times of the year such as Easter. More recently, we have noticed decorations celebrating various frontline workers during the pandemic, including postal workers.”

I first began noticing these folkloric creations in mid-2020 when the covid19 regulations were eased sufficiently to permit us to make day trips from London into the nearby countryside.

Creating toppers involves a lot of work and must surely challenge the creators’ ingenuity. Some of them are quite simple in design, but others, like the swans in the centre of Henley, are intriguingly complex. The toppers are unpretentious works of art which must bring a smile to the faces of many a passerby.

After the heatwave came the cloudburst … après moi le déluge

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FOR OVER A WEEK at the end of June and the beginning of July (2025), temperatures in London hovered around 30 degrees Celsius. Then, it became a bit cooler, and the sky clouded over. Despite the slight decrease in temperature, the air in London remained unpleasantly humid.

Then, on Sunday the 6th of July, the heavens opened. Rain came streaming down. The downpour was as heavy as monsoon rains I have seen in India.

After less than 10 minutes, the rain ceased, there were several rolls of thunder, and the sky became blue once more.

The photograph shows the disadvantages of a flat roof. With poor drainage, it becomes a swimming pool.

Walk the house on London’s South Bank

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DO HO SUH is an artist who was born in South Korea in 1962. He was awarded a Bachelor of Fine Arts and Master of Fine Arts from Seoul National University, and then later, a Bachelor of Fine Arts in painting at the Rhode Island School of Design. He lived and worked in Seoul, then in New York City, and now in London. So, during his life, he has changed homes several times while moving from place to place. His exhibition that is on show in London’s Tate Modern until 19 October 2025 is called “Walk the House”. The exhibition is his artistic interpretation of what the concept of home means and of his experiences of moving from one residence to another.

A house within a house

Th artist’s works in the exhibition range from sketches, paintings, and sculptures to spectacular three-dimensional installations. Some of the installations can be entered and explored by visitors. In one of them, called “Nest/s”, the artist has stitched together a series of rooms made of translucent cloth that evoke places where he has lived in Seoul, New York, London, and Berlin. Visitors walk along a tunnel from room, thus following in the footsteps of the artist as he changed homes.  Another large installation that can be entered is a large room made of translucent, white polyester. To the walls of this structure, the artist has attached models of appliances and fittings that were in each of the homes he has lived. The items that have been attached have been colour coded: a different colour for each of the places in which he has dwelled. One other thing that particularly appealed to me is a translucent resin model of the house in which he lived in Providence, Rhode Island. Visible within this model there is a model of Suh’s childhood home in Seoul.

The Tate’s web page for this exhibition explained:

“Is home a place, a feeling, or an idea? Suh asks timely questions about the enigma of home, identity and how we move through and inhabit the world around us.

With immersive artworks exploring belonging, collectivity and individuality, connection and disconnection, Suh examines the intricate relationship between architecture, space, the body, and the memories and the moments that make us who we are.”

And this does well summarise what can be viewed in this exhibition, which is well worth visiting.

Somewhere snooty in Ooty (Ootacamund in south India)

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ABOUT TWENTY-FIVE years ago, we spent a short holiday in the southern hill station at Ootacamund (Udhagamandalam) in India’s Tamil Nadu state. Often called ‘Ooty’, the town is the home of one of India’s most prestigious colonial-style clubs, the Ootacamund Club, which was founded in 1841. It was there that my in-laws arranged for us to stay for a few nights. Our bedroom with a working wood fireplace was comfortable enough. It reminded me of rooms in old-fashioned hotels in which I had stayed in with my parents in the English countryside in the late 1950s.

When we stayed at the club in 2000, it seemed to be quite a ‘snobby’ or ‘snooty’ place. We were travelling with our then five-year old daughter. Apart from our bedroom, there were only two parts of the club that she was permitted to enter. One was a lobby, and the other was a children’s dining room. The latter was depressing to say the least. Because we did not want to abandon our daughter, we saw little else of the inside of the club.  The rest of the club house could only be entered by adults wearing appropriate clothing. For men in 2000, this included a jacket, shirt, proper shoes (not trainers or sandals) and tie. It seemed crazy to enforce such rules as we were the only people staying in, or using, the club  during the off-season. I wonder if these rules have been relaxed at least a little since our visit.

It was not my first visit to Ooty. My wife and I had spent part of our honeymoon there after our marriage in Bangalore in January 1994. That time, my father-in-law had arranged for us to stay in the St Margarets guest house that belonged to the company in which he had worked, ITC. Our stay at St Margarets was not without small problems, but the place suited me much more than the hallowed Ooty Club.

History revealed at a shop in London’s Kensington

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SHOPS IN LONDON’S High Street Kensington are forever changing hands. And each time a new lessee takes over a shop, he or she brings in builders to alter the shop’s appearance. Today (in July 2025), I passed a currently empty shop undergoing a change in the appearance of its façade. The front of the shop had been stripped down, and as a result the name of one of the businesses that had formerly used the premises had been revealed. The old shop sign at number 13 High Street Kensington read “Blooms (1920) Ltd.”.

When I tried looking this up on Google, by entering various combinations of search words, I was shown a list of flower shops, none of which are at 13 High Street Kensington. And, sadly, nothing came up that revealed any information about Blooms Ltd, which had once occupied the premises. So, if anyone knows anything about the business conducted by Blooms (1920) Ltd, do please let me know.  

Bring the brickwork to life at the Town Hall in London’s Kensington

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A LIVING WALL (aka ‘green wall’) is a vertical structure covered with living plants attached to an exterior wall. Architecturally, they can add visual interest to the buildings on which they are attached. One building, whose visual interest is far from great, is the brick and concrete Kensington Town Hall, which was constructed in 1976. An attempt to improve its image has recently been completed. It is the addition of a living wall, 82 feet high and 16 feet broad.

This wall of greenery, doubtless paid for by the people living the Royal Borough of Kensington and Chelsea, has been justified by the council as being useful for providing additional natural habitats for pollinators and other friendly creatures, as well as for helping to purify the air. Attractive as it is, it does little to distract me from the overall lack of beauty of the building to which it is attached. As the saying goes …

“you can’t make a silk purse from a sow’s ear.”