Tag Archives: kew gardens

Two artists and a critical view of the British empire

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THE SINGH TWINS, Amrit Singh and her sister Rabindra Kaur Sing, were born in Richmond (Surrey), and brought up in Birkenhead (Cheshire). Between the mid-1980s and early ‘90s, they studied art at University College Chester, then at Manchester University. These highly creative women produce works that incorporate features of Indian traditional art, mediaeval illuminated manuscripts, contemporary western culture, and pop art, often all combined in one work.

The exhibition at Kew Gardens, “THE SINGH TWINS: Botanical Tales and Seeds of Empire”, which is showing until 12 April 2026, is filled with great examples of their artwork. Their highly decorative, colourful works are rich in interesting details, rather in the way that Italian renaissance paintings were enriched with symbols and features that would have meant a great deal to those viewing them when they were first paintings, and to art historians many centuries later. The many details in the pictures at Kew evoke many thoughts in the minds of people seeing them today, and remind the audience of events that happened not too long ago when Britain had a vast empire and Britannia ruled the waves, and much of the world’s commercial activity.

Each of the pictures on display at Kew contains plenty of witty and often chilling reminders of what the British (and other Europeans) did to the lands they colonised and exploited. Though filled with imagery relating to Britain’s imperial past and its consequences both abroad and in modern Britain, the pictures are glorious to see. A video, with a commentary written in verse and narrated by the twins, accompanies the exhibition. If the pictures alone do not convey the artists’ messages to all viewers, watching the film is very helpful. In keeping with where they are being exhibited, this collection of the twin’s work focusses not only on colonial histories but also on the plants that helped the colonisers enrich themselves.

The exhibition can only be visited if you have paid for entry to Kew Gardens or if you are a member. After seeing the exhibition you can wander around the gardens and spot some of the many plants that were originally brought from different parts of the empire to grow in the botanical gardens.

Revealing some artists from India at Kew Gardens

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ALMOST AS SOON as English people began visiting India, and later colonising it, they took an interest in the flora of the Indian Subcontinent. Their interest was both scientific and commercial: looking for plants that could be exploited to make a profit. Many of the early English explorers of India’s flora worked in an era before photography was invented, or in the early days before colour photography became possible. Instead of making photographs of botanical specimens, detailed drawings and paintings of plants were created. Until I visited an exhibition at Kew Gardens, which runs until 12 April 2026, I believed that all the intricately detailed botanical images had been created by English and other European people.

The exhibition, “The Singh Twins: Botanical Tales and Seeds of Empire”, is divided into two related but quite different sections. One section contains colourful, contemporary artworks by the Singh Twins. The other, subtitled “Flora Indica: Recovering the lost histories of Indian botanical art” contains 52 botanical illustrations by Indian artists commissioned by British botanists between 1790 and 1850. Each one of them is rich in detail, delicately drawn and/or painted, and a delight to behold. Not much is known about the Indian artists apart from their names, and where they were based. The artists were both Hindus and Muslims, and their pictures combine traditional Indian draughtsmanship with the kind of scientific realism required by the English botanists who commissioned them. Compared to other Indians employed by British botanists, they were well paid, receiving up to £500 per month in today’s money.

Most of the Indian artists, whose works were on display were based in Bengal: most in Berhampur, others in Calcutta and Darjeeling. Other artists were in Burma, Saharampur, and Nepal. All of them were male. Over 7500 drawings of flora in South Asia were commissioned by the East India Company, and were created entirely by Indian artists. Some of these images reached Kew in 1879 from the Company’s India Museum, established in London in 1801 and closed for good in 1879.

The exhibition is well-displayed with informative labels. It is in the Shirley Sherwood Gallery of Botanical Art. This contemporarily designed edifice is close to the much older Marianne North Gallery, which houses a huge collection of botanical images created by Marianne North (1830-1890). Although her paintings are superb, those by the Indian artists in the exhibition have a certain delicacy that is lacking in many of North’s often quite bold depictions of flora.

The “Flora Indica” exhibition is showing alongside the Singh Twins’ artworks, which are imaginative, witty, and provide a satirical view of the consequences of European colonisation, particularly of India and Africa. Rich in floral details, the images complement those created much earlier by the Indian botanical artists.

Painted in blue and displayed at Kew

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THE SHIRLEY SHERWOOD Gallery of Botanical Art is a relatively new addition to the buildings dotted around London’s Kew Gardens. It is an attractive clean lined contemporary edifice containing several interconnected exhibition spaces of varying sizes. Until 23 March 2025, it is housing an exhibition of mostly enormous ceramic objects, which were created by Felicity Aylieef, Professor of ceramics and glass and research at the Royal College of Art, London.

The enormous ceramic objects, which look like grossly magnified jars and vases, were handmade by craftsmen in China, whose names were not prominently displayed (if at all) in the exhibition. Ms Aylieff has painted attractive designs on the vessels using blue paint containing cobalt oxide. The painted ceramic objects are then placed back into enormous kilns, and fired once again to fix the painted designs and to glaze them. Undoubtedly, what she creates is impressive, but maybe pointless. However, the art historian John-Paul clarifies things a bit:

“These are objects to be encountered physically, peered at anear, admired from afar. They may derive from utilitarian vessels, but as objects they are architectural, sculptural even, in their forms. Painterly, we might also say, for the manner in which their surfaces are articulated with glazes”. (Quoted from a label at the show).

I enjoyed seeing these gigantic ceramic objects, but kept wondering whether the great effort (especially physical) to make them was worthwhile.

The handkerchief tree and pollination

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ONE OF THE characteristics of a living organism is the ability to reproduce itself. Pollination of plants is an important stage in maintaining the survival of a species.

Yesterday (the 15th of May 2024), we saw a curious tree at Kew Gardens. It looked as if it had both green and white leaves. It is a Handkerchief tree (Davidia involucrata). The white appendages are not leaves but bracts. They form for about a fortnight each year, and serve to increase the chances of the tree’s flowers being pollinated.

Art amongst the plants at the Royal Botanic Gardens at Kew

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I ENJOY VIEWING sculpture displayed in the open-air. Seeing sculpture ‘al-fresco’ is for me much more pleasant than viewing it in a gallery. From time to time, the Royal Botanic Gardens at Kew hosts outdoor sculpture displays. In the past, I have seen exhibitions of works by Henry Moore and Dale Chihuly. This year (2024), there are several sculptures by Marc Quinn dotted around the gardens. Quinn, who was born in the UK in 1964 is an adventurous creator, whose works sometimes give rise to controversy. I do not believe that the collection of his works now on display in Kew will give rise to much, if any, controversy.

Except for several bronze sculptures depicting larger than life bonsai trees, which have been placed in the Temperate House, the rest of the sculptures are made in highly reflective stainless steel. Appropriately for their setting, these sculptures are derived from the shapes of plants, leaves, and flowers. Because they are so reflective, they reflect the plants and trees growing near them. This helps to camouflage them, or make them seem as if they are merging with the surrounding vegetation. Although they contrast dramatically with their surroundings, their reflective nature softens the contrast when viewed from certain angles.

When I see sculpture next to nature, I often feel that however well the artwork has been created, it often palls when compared to what Nature has created. Quinn’s work at Kew has this effect, but somehow, probably because it reflects the plants around it, the comparison between what he created and what has been growing naturally is not too marked, and did not disturb me.

A visit to Kew Gardens is always enjoyable, and seeing the place with Quinn’s work in situ was a good experience. The exhibition will continue until the 29th of September 2024.

A pioneering bridge

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THE CONCRETE PEDESTRIAN bridge over the railway tracks at Kew Gardens Station cannot be described as attractive. In fact, it is rather ugly. However, on a recent visit to the station, I spotted a notice attached to the bridge that provides interesting information about it.

The bridge was opened in 1912. It is one of the earliest examples of the use of reinforced concrete in Britain. The technique used to construct this bridge was that pioneered by François Hennebique (1842-1921). The first building made in Britain using his method of reinforcing concrete with wrought iron beams was the Weaver Building in Swansea (in 1897). An article in Wikipedia related that between 1892 and 1902, over 2000 structures were made using Hennebique’s method. This makes me wonder why the plaque on the bridge at Kew is described as a “rare example” of this kind of structure. Maybe, what is meant is that it is a rare surviving example of his construction method. In any case, the bridge at Kew incorporates two features that were designed to protect users of the bridge from the smoke produced by steam engines that used to travel beneath it. One feature is the high wall on each side of the pathway over the bridge. The other are small projections over the railway lines, which were designed to deflect smoke from the bridge.

Kew Gardens station was opened in 1869. It is the only station on the London Underground network to have a pub attached to it. In the past, this pub, now known as The Tap on the Line, had an entrance directly from the London bound platform. In addition to the bridge described above, there is also an underground pedestrian passageway running beneath the tracks. The main reasons to use this station are to visit the National Archives and/or Kew Gardens. If you are coming from central London to visit the gardens, you will have to cross the tracks. So, why not cross them on a bridge that, although ugly, is a landmark of engineering history?

Great exhibition at Kew Gardens

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Well worth seeing: a visually and philosophically fascinating exhibition by Zadok Ben-David at Kew Gardens until 27th of March 2022. See more at:

https://www.kew.org/kew-gardens/whats-on/zadok-ben-david-natural-reserve.

The artist uses delicate models of the natural world to illustrate that life simultaneously has its dark and light aspects. This innovative exhibition has to be seen to be believed. It makes for an intriguing accompaniment to the lovely botanical gardens.