There are many remarkable paintings in the Hurvin Anderson retrospective now coming to a close at Tate Britain. But one work that combines his love of painting plant life with his interest in the instability of identity and memory is on view not in London but in Cambridge, at Kettle’s Yard, as part of an exhibition that tracks how artists in Europe and the United States have found inspiration in flowers (until 6 September). Untitled (2025), a reimagining of floral wallpaper, toys subtly with planes: blooms of red and blue slip in front of and behind each other, an ostensibly homely image made to seem unsteady and almost aggressively bright. In the earliest work here, Édouard Vuillard’s Pot de grès et fleurs (c. 1900–10), wildflowers pop against a lilac interior wall that seems on the verge of dissolving. No less arresting is Anne Redpath’s White Cyclamen (1962), a work of near abstraction in which impasto brushstrokes pick out bright petals against a sea of darkness.
Find out more from the Kettle’s Yard website.
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