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The Bridge Between Art and ScienceWhy do we find things beautiful? More precisely, why do some paintings of coloured dots in rippling patterns inspire in me something like revelation? The idea that beauty is the feeling you get when encountering truth is unfashionable in the arts, but lingers in the sciences. The physicist Paul Dirac once proposed that it is more important that a formula is beautiful than that it can be proven: when a perfectly beautiful theory produces results that cannot be real, he argued, then we should not discard the theory but reconsider what is real.Since the 1970s, Terry Winters has been rebuilding that bridge between art and science. Taking inspiration from disciplines including botany – his early paintings, particularly, evoke sprouting pods and tangled roots – engineering, computer modelling and cybernetics, his paintings might be understood as diagrammatic approximations of the patterns that govern everything from the division of cells to the constellation of stars. If every era has to renew its standards of beauty to reflect new understandings of how the world is constructed, then Winters comes as close to providing that model as any living painter.Mathematical Patterns in Visual ArtThese eight new works take their titles from the language of geometry and mathematics: Area, Array, Field, Locus, Point, Scope, Sequence and Set. Each is composed of overlapping patterns that pull each other out of shape according to invisible laws of attraction and repulsion. Field is indicative: on a sooty pink ground, a dense grid of dusty blue cells bends inwards like a trampoline beneath a bowling ball, while an intersecting arrangement of larger circles swells outwards. The disorienting effect of this push-pull is exaggerated by an optical illusion, created by ragged phosphorescent orange haloes around the blue circles, that makes them appear to be craters sunk into the crust of paint. You have to walk up to the surface to be reassured that it is flat.Point shows a teeming landscape of cells bulging outwards at the centre, as if a scum of frogspawn had been skimmed off a pond and placed under a paperweight microscope. In Sequence, a storm of pink interference skims through a yellow circle split like a brain into hemispheres, while a nebulous weather system sweeps in from the right. In Scope, vaguely symbolic arrangements of freshwater blue and desert orange nodules move across the familiar circle-within-a-square geometry of Leonardo's Vitruvian Man. Where that famous demonstration of sacred geometries exudes stillness and calm, the systems that run through Winters' worlds are wild and strange. Here, as much importance is given to the subjective factors of perception and consciousness as the objective principles of logic and proportion.Optical Illusions and Sensory ExperienceAll of this should not distract from the pure sensory pleasure afforded by these pictures. In Locus, another optical illusion seems to lift the red edge of the painting off the canvas like a clumsy wooden frame, squeezing the pockmarked sphere at its centre so that it balloons outwards, threatening to burst. The same cadmium red, so sandy that the pigment seems barely to have been suspended in oil, turns carmine pockets into rock formations that climb off the surface of Set. These sleights of hand evoke the more secular movement of op art, in which patterns are manipulated to exploit the idiosyncrasies of human perception rather than to uncover deeper truths. Which begs the question: is this all just a conjuring trick?Rediscovering the Renaissance ApproachThere is something magical about these works. Even though Winters is generally credited with having extended the lineage of modernist American painting into the present, his practice is in this sense pre-modern. In its rejection of the idea that art should be separated from science, it resembles the Renaissance attitude according to which painting is no less a tool for understanding the world than mathematics, and magic is just the name for things we don't yet understand. His commitment to synthesising diverse spheres of knowledge, his alchemist's commitment to materials, and his sheer technical ability certainly mark him out in a scene recently overwhelmed by chancers and charlatans, bandwagoners and snake-oil salesmen. That his work is enjoying a revival might be taken as an encouraging sign.Beauty as a Path to TruthDirac, incidentally, was proved right. He formulated a theory that was so beautiful it couldn't possibly be wrong, even though it implied the existence of phenomena that everyone agreed must be impossible. He stood by it, and a few years later, someone else discovered anti-matter. Winters' paintings likewise offer a flash of those secret patterns that underpin the physical world, and which science has yet to illuminate. Which is to say, they're beautiful.Exhibition DetailsTerry Winters: Along the River is at Modern Art, London, until 11 July

Reconstructing Shark Island: The Forgotten Genocide’s Visual RevivalThe exhibition Fractured Lifeworlds opens in Berlin, presenting four years of research that digitally reconstructs the concentration camp on Shark Island (1905‑1907), where at least 3,000 Herero and Nama prisoners died under forced labour, starvation and systematic abuse.Numbers Behind the Atrocity: Death Toll and Land OwnershipEstimated deaths on Shark Island: 3,000+Current white minority in Namibia: less than 2% of the populationWhite-owned commercial farmland: roughly 70%Colonial Legacy Meets Green Hydrogen: The Hyphen Project’s ControversyUnderneath Shark Island, the port of Lüderitz is slated for expansion as part of Hyphen, a multibillion‑euro British‑German green‑hydrogen initiative that will exploit Namibia’s wind and solar resources for export. Human‑rights groups warn that the 4,000 sq km development area overlaps ancestral Nama lands, with communities excluded from meaningful participation.Implications for Memory, Reparations, and International AccountabilityGermany recognised the atrocities in 2021 but framed them as a genocide “from today’s perspective”, avoiding legal liability. Descendants argue that Germany swiftly compensates Holocaust victims while denying reparations to Herero and Nama peoples, highlighting a double standard that the exhibition seeks to counter with visual evidence.Future Outlook: How Digital Forensics May Shape Historical JusticeForensic Architecture’s “forensic botany” approach—reading vegetation patterns, bullet cartridges and landscape scars—offers a new method for documenting erased histories. By turning the desert into a “satellite back in time”, the project aims to create a digital shield against denial and influence future debates on reparations, heritage preservation, and responsible resource extraction.

A Visual Journey Through Britain and Ireland's Wildflowers This photographic collection captures the stunning diversity of wildflowers across Britain and Ireland, offering a visual celebration of these natural treasures that adorn the countryside throughout the changing seasons. Iconic Blooms of the British Isles From the iconic bluebells that transform ancient woodlands in spring to the vibrant poppies that brighten meadows in summer, these photographs showcase some of the most recognizable wildflower species found across the region. Each image tells a story of adaptation, resilience, and natural beauty. Hidden Gems and Rare Finds Beyond the familiar species, this collection also highlights lesser-known wildflowers and rare botanical treasures that many visitors might overlook. These plants, often with fascinating ecological relationships and unique adaptations, represent the incredible biodiversity of Britain and Ireland's flora. The Art of Wildflower Photography Capturing these fleeting moments of natural beauty requires patience, skill, and a deep understanding of both photography and botany. The featured photographers share their techniques for highlighting textures, colors, and intricate details that make each wildflower species unique. Conservation Through Photography More than just beautiful images, this collection serves as a powerful tool for conservation awareness. By documenting these wildflowers in their natural habitats, the photographs help raise public appreciation and understanding of the importance of preserving these delicate ecosystems.

Cambridge University is launching a four-week summer course in botany, inspired by a course taught by Prof John Stevens Henslow to Charles Darwin in the 1820s. The course will use original teaching materials, including plant specimens and illustrations, to teach students about botany.The course aims to address the gap in botany education in the UK, where the subject has largely disappeared as a standalone degree. Dr Raphaella Hull, acting head of learning for Cambridge University Botanic Garden, said that the course will teach students about botany using hands-on techniques and field excursions.The course is based on Henslow's pioneering approach to teaching botany, which emphasized the importance of observing and understanding plant diversity. Henslow's use of illustrations on his course was groundbreaking, and he is credited with influencing Darwin's later theory of evolution.Prof Sam Brockington, curator of Cambridge University Botanic Garden, said that the course is designed to be an immersive program in botany, and that Henslow's approach to teaching botany is still relevant today.