DURING MY FIRST visit to an exhibition of paintings by Cecily Brown (born in London in 1969) at the Serpentine South Gallery (until 6 September 2026), I was not much taken with her works. On that occasion, I do not think I was in the mood for looking at art. Realising this, I revisited the show today, 19 June 2026. I came away from it satisfied with what I had viewed.
Cecily’s education in art was at Epsom School of Art, then at Morley College, and later at the Slade School of Art. She did well, receiving various awards. And since completing her studies, her works have been hung in many prestigious museums and galleries in Britain, the rest of Europe, and the USA.
Apart from a collection of pen and ink drawings that resemble illustrations for children’s books, most of the works on display at the Serpentine are canvases. Each of them is covered by what at first sight looks like a riot of colour. However, closer examination reveals that within these seemingly chaotic collections of sweeping brushstrokes, there are many details, such as people embracing, plants (flowers, trees, and bushes), animals, ponds, letter boxes, buildings (including an aerial view of the Serpentine Gallery), and more.
Although I enjoyed seeing these pictures during my second visit to the gallery, I cannot place Cecily Brown amongst the modern and contemporary artists whose works please me most.
LOCATED IN THE SOUTHWEST part of Richmond Park is one of London’s floral miracles: This year (2024), The Isabella Plantation is almost at its colourful best now (we visited it on the 12th of April) – a little earlier than usual. The camellia, azalea, and rhododendron bushes have exploded into flower alongside many other flowering plants. As you walk through the plantation, clouds of different coloured flowers seem to burst into view. Often two bushes of the same kind, but with different coloured flowers, have been planted together so that their blooms mix together to form an exciting ‘tapestry’ of flowers and contrasting hues.
During our latest visit, we were fortunate to have arrived at the right time to see some bluebells, but they were not close enough to each to seem like a carpet. However, they pale into insignificance in comparison with the flowering bushes, which have been skilfully planted so as to provide the viewer with three-dimensional, multi-coloured, natural works of art. On our recent walk around the Plantation, the morning sun (between 745 and 900 am) was shining brightly, enhancing the vividness of the flowers’ colours. Filtering through the trees, the sunlight created splashes of light on the flowers, producing an interestingly dappled effect. And some petals had sunlight shining through them, creating a lovely sight.
There are three ponds in the Plantation. The largest is Peg’s Pond. Next largest and at a higher altitude is Thomsons Pond, which is surrounded by a few flowering bushes. The most magnificent pond is the smallest of the three. It is the Still Pond. It is almost surrounded by azalea and rhododendron bushes. When they are in flower, their incredibly exuberant blooms are reflected in the mirror-like water of the Still Pond. This amazing effect must be seen to be believed. We saw a few mandarin ducks in the pond. As they swam, they created ripples on the surface of the pond. The gentle undulations of the water surface create interesting shimmering reflections of the firework-like flowers on the bushes next to the pond.
As on previous occasions, we parked in the free Broomfield car park, which is a short, pleasant walk away from the Plantation. Next to this carpark there is a café, which sells snacks at rather outrageously high prices. Optimistically, I hope that some of the profit goes to maintaining the Plantation.
Seeing the resplendent display of colour in the Plantation provides a pleasant distraction from the many disturbing things that are happening in many places in the world beyond the boundaries of Richmond Park.
LEAKE STREET RUNS beneath the platforms and tracks of London’s Waterloo Station. It is 300 yards long and its walls and ceiling are covered with colourful graffiti created with cans of paint spray. The artwork creation in this street that runs in a tunnel was inaugurated in May 2008 during the Cans Festival, which was organised by the artist known as Banksy.
Unlike many public places in London, painting the walls in Leake Street is legal. Walking along this highly decorated street is a magnificent experience, which you can repeat often because the images on the wall are frequently changed. If you are lucky, you can watch the artists in action.
IT IS THAT TIME of year again, maybe a little earlier than usual because of the changing meteorological conditions, which are of great concern these days. Located in the southwest part of Richmond Park is one of London’s floral miracles: The Isabella Plantation (see: https://adam-yamey-writes.com/2021/05/21/a-floral-fireworks-display/, for a shorth history). It is at its colourful best at the end of April and in early May. During this period, the camellia, azalea, and rhododendron bushes explode into flower alongside many other flowering plants.
During our visit in the last week of April 2022, we were fortunate to have arrived at the right time to see vast carpets of bluebells in full bloom. Fantastic as this is to see, they pale into relative insignificance in comparison with the flowering bushes, which have been skilfully planted so as to provide the viewer with three-dimensional multi-coloured natural works of art. On our recent walk around the Plantation, the morning sun was shining brightly, enhancing the vividness of the flowers’ colours. Filtering through the trees, the sunlight created splashes of light on the flowers, producing an interestingly dappled effect. One visitor, with whom we spoke said that the best time of day to see the flowers is in the afternoon. She might be right, but I would strongly recommend seeing them at about 1030 am, which is when we were there.
There are three ponds in the Plantation. The largest is Peg’s Pond, in which we were fortunate to see a duck with her flock of tiny ducklings swimming around her. Next largest and at a higher altitude is Thomsons Pond, which is surrounded by a few flowering bushes. The most magnificent pond is the smallest of the three. It is the Still Pond. It is almost completely surrounded by azalea and rhododendron bushes. When they are in flower, their incredibly exuberant blooms are reflected in the mirror-like water of the Still Pond. This amazing effect must be seen to be believed (if you are unable to visit at the right time of the year, look at my video: https://youtu.be/WLipU0kdoLM).
We parked in the (currently free) Broomfield car park, which is a short, pleasant walk away from the Plantation. On our way, we were lucky enough to spot several stags and deer resting in the shade of a tree not far from the footpath. Seeing these and the resplendent display of colour in the Plantation provided a pleasant distraction from the many disturbing things that are happening places all over this planet.
MANY YEARS AGO, I read “The Gothic Revival” by the art historian Kenneth Clark (1903-1983). If I recall correctly, he wrote that it was likely that in Britain, the gothic style never truly died out before it came back into fashion in the 18th century. What we call ‘revival’ was merely the flaring up of the embers of the use of gothic designs, which had persisted despite the flowering of newer forms of architecture, such as neo-classicism. By the 19th century, the use of gothic motifs and structural features had fully revived, especially in the construction of churches and many other buildings, such as London’s St Pancras Station and the Prudential Building (near Chancery Lane).
Today, the 22nd of February 2022, I revisited a slightly concealed church, All Saints, in Margaret Street, which runs north of Oxford Street and parallel to it. You can see its tall, tiled spire from afar, but the church itself is set back from the street in a courtyard. Externally, with its multi-coloured patterned brickwork it is eye-catching but inside it is fantastic.
The church was established by the Ecclesiological Society, which was founded in 1839 as ‘The Cambridge Camden Society”. The group’s aim was:
“… announced a plan to build a ‘Model Church on a large and splendid scale’ which would embody important tenets of the Society: It must be in the Gothic style of the late 13th and early 14th centuries; It must be honestly built of solid materials; Its ornament should decorate its construction; Its artist should be ‘a single, pious and laborious artist alone, pondering deeply over his duty to do his best for the service of God’s Holy Religion’ Above all the church must be built so that the ‘Rubricks and Canons of the Church of England may be consistently observed, and the Sacraments rubrically and decently administered’.”
The architect chosen was William Butterfield (1814-1900), who specialised in the ‘gothic revival’ style. The church was built on the site of a former chapel, and within the confined space available, it was accompanied by a choir school and a clergy house. The church’s spire, 227 feet high, is taller than the towers of Westminster Abbey.
The Victorian writer and art critic John Ruskin (1819-1900) was full of praise for Butterfield’s edifice in Margaret Street. He wrote about it in his “The Stones of Venice, Volume III” (published 1853), observing that it:
“…assuredly decides one question conclusively, that of our present capability of Gothic design. It is the first piece of architecture I have seen, built in modern days, which is free from all signs of timidity or incapacity. In general proportion of parts, in refinement and piquancy of mouldings, above all, in force, vitality, and grace of floral ornament, worked in a broad and masculine manner, it challenges fearless comparison with the noblest work of any time. Having done this, we may do anything; there need be no limits to our hope or our confidence; and I believe it to be possible for us, not only to equal, but far to surpass, in some respects, any Gothic yet seen in Northern countries.”
That was praise indeed.
The interior of All Saints is a riot of colour. This results from the use of stones of differing hues – some inlaid to create bold patterns and others to form images of biblical scenes, glorious stained glass, gilt work, and elaborate ironwork. This feast for the eyes must be seen to be believed. And this gem of Victorian architecture, a peaceful have and a joy to see, is merely a stone’s throw from the hustle and bustle of Oxford Circus.
TEMPLE STATION IS on the Circle and District lines of London’s Underground. It was opened in 1870 and named after the nearby ancient Temple Church, which stars in Dan Brown’s 2003 novel “The Da Vinci Code”. The station’s ticket office is housed in a single storey building with a flat roof surrounded by a balustrade. The flat roof, with a few benches, occupies about half an acre and until recently served simply as a place to sit in the fresh air. Now, this has changed.
The flat roof has become employed as an open-air exhibition space for young artists. Today (December 2021), we climbed the stairs to reach the roof and were amazed to see that it has been covered with multi-coloured painting and plastic floor tiles, a dramatic sight. There is also a colourful hut, “The Artist’s Hut”, a modern take on the traditional cabman’s shelter. With the title “Back in the Air: A Meditation on Higher Ground”, the art installation was created by London-based artist Lakwena Maciver (born 1986). Also on this coloured space, there are a couple of ceramic works by another artist, Camilla Bliss. It is a wonderful surprise to see this field of bright colours, especially beneath a cloudy, grey sky. It would be fun to see the space from the air. But I do not know whether the pigeons would agree with me.
In the future, it is hoped that other artworks will b e displayed above Temple Station.
THE SUNDAY MORNING SERVICE at the parish church, St Mary the Virgin, in Haverhill in Suffolk had just ended when we entered the building. My wife chatted with a priest, who said he knew little about this church’s history. She asked him if there were any other churches in the district worth a visit. He mentioned two across the county border in Cambridgeshire, at the villages of Bartlow and at Hildersham. The two churches have something of interest in common: unusual colourful paintings.
Bartlow’s St Mary’s church has a distinctive round bell tower. But this is not the only thing that is remarkable about it. It was built in the 11th or 12th century and modified gradually during the following centuries. A real treat greets the visitor on entering the building: some colourful 15th century wall paintings, two on the south wall and one on the north. They depict St George’s dragon (north wall), and opposite this on the south wall: St Michael weighing the souls on The Day of Judgement, and east of it another shows a portrait of St Christopher carrying the Christ Child. The paintings existed long before the Civil War. On the 20th of March 1644, they were covered up with paint by Oliver Cromwell’s men under the command of William Dowsing (1596-1668), a fanatic iconoclast, also known as ‘Smasher Dowsing’. The frescos began to become uncovered in the 19th century, but it was only in 2014 that serious conservation work was undertaken on them.
St Christopher painting at Bartlow
The artists who created the wall paintings at Bartlow have been long forgotten, but this is not the case for the creators of the colourful chancel at Holy Trinity Church in nearby Hildersham. In 1806, the Reverend Charles Goodwin was appointed Rector of Hildersham. Ten years later, his son Robert was born. He studied at Clare College in Cambridge and whilst a student he joined The Cambridge Camden Society, whose aims were to promote the study of Gothic architecture and ‘ecclesiastical antiques’. This society grew to be a great influence on the design of Victorian churches.
In 1847, following the death of his father, Robert became Rector of Hildersham’s church. Soon, he began to consider how to ‘restore’ his church in accordance with gothic revival ideals. Amongst these ‘improvements’ was the painting of frescos on the walls of the chancel. These were executed using a novel technique known as ‘spirit fresco’, which made use of a complex mixture of beeswax, oil of spike lavender, spirits of turpentine, elemi resin, and copal varnish. This technique, invented by Thomas Gambier Parry (1816-1888), produced durable images that were easier to produce than the traditional fresco technique used, for example, in renaissance Italy. The chancel at Hildersham was painted using the new technique by Alfred Bell, John Clayton, and Stacy Marks. They and many assistants produced a magnificent display of saints and religious scenes, all from The New Testament. They were painted in 1890 and are in wonderful condition. The two churches are just under 4 miles apart and both are well worth visiting. And, when you do go to these buildings, you will find light switches near their entrance doors. We might never have seen them had it not been for my wife engaging in friendly conversation with the priest at Haverhill.
yamey 