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Peace on earth, goodwill to men… and women

angela findlay4 Comments

I am not a huge fan of Christmas, but I do love the peace of the days that follow the rush and stuffing of stockings, fridges and bellies. A stillness descends as exhausted people navigate the aftermath of families, toy-strewn floors and overflowing bins. Finally, those of us in the northern hemisphere can follow winter’s call to slow down, rest, and listen to the wisdom of our hearts and souls before the new year draws us back into action. 

Peace is not something we can take for granted anymore. Fighting – with words, ideologies or weapons – has increasingly become the norm. We have just been told by the UK defence minister, Al Carns, that “the shadow of war is knocking on Europe’s door.” And warned by NATO boss, Mark Rutte, that “we must be prepared for the scale of war our grandparents and great grandparents endured.” In this year marking the 80th anniversaries of the end of the Second World War, I’ve been asking myself: how do we maintain peace in a world in which so many of the vows and institutions created to prevent future wars are under threat? How do we ensure that ‘Never Again’ still holds? Various recent events have been shaping my thoughts.

In early December, the German President Frank-Walter Steinmeier and his wife, Elke Büdenbender, embarked on a three-day state visit to the UK, the first in 27 years. In his speech at the state banquet hosted by King Charles III and Queen Camilla, Steinmeier highlighted the deep connections between Britain and Germany; how traditions from each country have been woven together so tightly that their origins are now obscured. Not least among these is the Christmas tree. The first one was displayed in Windsor in 1800 by the German Queen Charlotte, wife of King George III, and the custom soon spread to living rooms across the UK. The same is true for Battenberg Cake – a story I love and have often told in my work (see my December 2017 blog). 

L-R: President Steinmeier, Dean of Coventry, Elke Büdenbender, Duke of Kent…

On the final day of his visit, President Steinmeier travelled to Coventry Cathedral. He and his wife were greeted by His Royal Highness The Duke of Kent who, among his other roles, is Patron of The Dresden Trust. Coventry and Dresden have been twinned since 1959, linked both by the devastation of the bombing raids each country inflicted on the other, and by the many decades of peace and reconciliation work that have followed.

Al Murray and James Holland

At around the same time, I had been sitting in one of Goalhanger’s recording studios. You may know them for some of their most popular podcasts in The Rest Is… series, including the chart-topping The Rest Is History and The Rest Is Politics. I was there with Henry Montgomery to talk with historian and broadcaster James Holland, and comedian and ‘Pub Landlord’ Al Murray, on their equally popular WW2-focused podcast, We Have Ways of Making You Talk.  Henry, also the grandchild of a high-ranking army officer – in his case the British field marshal best known as ‘Monty’ – and I had previously spoken together on VE Day at the National Army Museum. As I have mentioned in other blogs, we are exploring from our different perspectives how well Britain’s remembrance culture is really working. With ever fewer World War veterans and first-hand witnesses still alive to warn us of the horrors and futility of war, is it doing enough to keep “Never Again” a lived reality?

National Army Museum: Henry Montgomery, me and Daniel Cowling, May 2025

When I look at the visuals of Britain’s remembrance culture that make it into the media – for many people, perhaps the only occasions where they will actively ‘remember to remember’ the lessons of history – I fear we are not going far enough. We see mostly men in dark coats laying wreaths and solemnly reaffirming vows to uphold the peace and international friendship while elsewhere in the world other men stubbornly refuse to make it. We see the bright regalia of royalty and the glinting medals of veterans. It is the language of the military and the state: formal, symbolic and carefully choreographed. All fine and important. But peace is not confined to grand stages or organised occasions.

Listening to Radio 4’s brilliant Reith Lectures, this year titled Moral Revolution (what could be more pertinent in our times?) and delivered by the historian and author Rutger Bregman, I was struck by a description of a Quaker practice to bury the dead in unmarked graves. In stark contrast to the fields of Commonwealth War Graves and annual remembrance rituals, they believe you don’t honour people with costly headstones but with actions. Thomas Clarkson, the famous abolitionist who wrote extensively on the Quakers, said: If you wish to honour a good man, let all his actions live in your memory so that they may constantly awaken you to imitation, thus you will show that you really respect his memory.

In a similar vein, Germany’s counter memorial movement, which began in the 1980s, fundamentally changed the dynamics of memorialisation. Through its shifting, disappearing monuments and memorials to absence, the focus turned toward the millions murdered by the Nazis. Responsibility for remembrance and for ensuring such destruction never happens again was transferred from stone and bronze into the hands of ordinary people. 

And that is where it belongs. Peace is sustained not only by treaties, leaders and ceremonies, but by us – each and every one of us in our daily lives. 

So if, like Rutger Bregman with his call for a Moral Revolution, we were to start a Revolution of Peace, what might it look like? What would its optics be? What language would it speak and who would embody it? I suspect it would be a revolution that brings heart, warmth, listening, sharing and art into our everyday encounters. One with no emphasis on sides and differences, winners and losers, no interest in egos, power games or deception. Idealistic maybe, but arguably closer to what is naturally human for many of us than conflict and war. 

Perhaps over Christmas we can practice peacekeeping: at kitchen tables, in disagreements, in how we speak to one another and how willing we are to listen. In choosing curiosity and compassion over judgment. In noticing where hostility quietly creeps into our own lives and questioning the ingrained narratives that divide the world into a good and right ‘us’ and a bad and wrong ‘them’.  

When peace is on the line, remembrance must shift from an act of looking back to a commitment to shaping the future. Just as conflicts and wars escalate out of countless small decisions, so peace does too. May we – and the world’s leaders – choose peace in the year ahead.

But first, let the mayhem continue… Wishing you all a very happy festive season, a meaningful Winter Solstice, a restful and restorative break and, in 2026, peace on earth and goodwill to men… and women.

The We have Ways… podcast episode is due to be published on 30th December in all the usual podcast outlets.

Remembering, while watching falling leaves…

angela findlay6 Comments

I normally plant bulbs on Remembrance Sunday. But this year I’ve been ill. Instead I went for a gentle walk in nearby woods, silent but for the breeze combing its way through the upper branches.

Down below, all was still. Except for individual leaves falling like snow. Each one taking its moment to break from the twig to which it had been rooted since the spring and dance in a series of pirouettes, twirls and summersaults before landing quietly among the already fallen. Unseen except by a chance walker. 

Do they pick their moment, or are they plucked from life?

A certain readiness is a prerequisite for each leaf to fall. In summer, winds can howl through the branches and yet the leaves remain bound to the tree, weathering the storm, held in place by life forces that ebb and flow in synchrony with the seasons.

Death is natural for these fallen.

As I shuffle through the carpet of rust and gold, the rustle so reminiscent of childhood memories – kicking through the golden floors of beech forests in little rubber wellies – I can only ponder the dead. The war dead all around the world. The families they left behind. The scars of loss, grief, trauma and silence that remain in their wake, often hidden for generations, shaping the souls of those who come after.

We call them the fallen. It softens the reality of how they died. But while we remember them with warm hearts and deep gratitude, let us – with all the advantages of hindsight – not forget the utter horror, violence and futility of war.

As countries around the world build their armies and arsenal, let us refrain from falling into the trap of thinking war can ever be a solution to political, religious, geographical or economic problems.

Let us remember that the cost is always too high.

When big isn’t necessarily better

angela findlay4 Comments

Reflections on: IN PROCESS… a life, a film, a book, an exhibition, The Vaults, Stroud. Sunday 19th October, 11am-5pm and by appointment until 1st November.

 

“We must, we must, we must increase the bust.

The bigger the better, the tighter the sweater, the boys depend on us.”

I remember chanting that with my boarding school roommates as a teenager, elbows flung back in a futile attempt – in my case at least – to inflate our adolescent chests. Bigger was definitely better, or so we believed.

Burj Khalifa, Dubai

Skyscrapers, cars, salaries, houses… In so many areas of modern society, ‘big’ still equals ‘better.’ More followers, more likes, more headlines, more sales. The biggest countries led by the most powerful leaders and largest militaries make the most noise. And yet we know, quantity doesn’t equate to quality. Magnitude doesn’t always reflect meaning or value.

This idea – that bigger isn’t always better – is something I’ve seen reflected both in the trajectory of my great great aunt Joan’s life and in my own development as an artist. (If you are new to Joan’s story, please see my previous blogs for background.)

Patshull Hall, Staffordshire

Joan’s tent

Joan grew up in a 147-room stately home in Staffordshire. Yet she spent her final weeks in a single, often soggy Meade tent pitched in a remote Himalayan Valley, surrounded not by grandeur but by shepherds, wildflowers and the sound of rain. She had traded scale for purpose. And her joy, it seems, had grown as her material load had lessened.

My own artistic journey has followed a similarly inverse curve.

Painting a mural in Sydney, 1987

I began large, unable to contain any drawing or painting within the boundaries of paper or canvas. My work spilled onto walls, first private then public, then grew further to fill stage backdrops for theatres or touring bands. Various mishaps including a paint-splattered boss’s car and a disastrous commission to paint the backdrop for INXS KICK album tour in 1987, which promptly cracked and fell off in large chunks when rolled up, nudged me toward the more forgiving surface of prison walls. There, no amount of damage could make the environment worse than it already was.

The light danced, 120x120cm

Years later, I turned my focus to canvases of my own, their size dictated by the available studio space and commercial considerations of galleries. And most recently, to works just 28x28cm – or smaller. I have replaced the vast audiences of art fairs with the quiet intimacy of just six or seven visitors at a time into the two vaults beneath my home in Stroud’s Cemetery.

The Vaults

Those vaults now house In Process… a deeply personal exhibition about Joan, her life and the resonance her death still holds for me, our family and small communities she encountered in India.

In one vault, where gravediggers once hung their tools and I now hang mine, visitors watch a short film projected into the open lid of an old trunk telling the story of Joan Margaret Legge.

In the other, where those same workers drank tea, ghostly white plaster casts hang like three-dimensional botanical drawings reminiscent of the specimens Joan collected and sent to Kew Gardens.

‘138 days’

A series of square sketchbooks chart the 138 days I followed Joan’s 1939 diary entries. Starting on 17th February when I stepped into her shoes as she boarded a ship to India, I step out of them again on 4th July, the day she slipped off the edge of a Himalayan path to her death. One photograph, one sketchbook page, each day a quiet re-embodiment across time. Not a recreation of her journey, but a chance to listen more deeply to the changing tone of her voice in the final months of her life.

At the heart of the exhibition is its smallest piece: a re-working of a first edition of Frank Smythe’s Valley of Flowers, the very book that inspired Joan’s expedition. Through collage, drawings and pressed flowers, it now tells the stories of three visitors to the valley rather than just one: his, hers and mine. Wrapped in brown paper and tied with string like an archival package, the book invites visitors to wear white gloves to turn its delicate pages, not because it is precious in a monetary sense, but out of respect, Unlike most artworks, these ones are meant to be handled and engaged with.

‘Three journeys in one’

There is nothing for sale. No press campaign. No sponsorship. Just a quiet space, tucked away in a garden, found by invitation or chance. A strange but deliberate choice, and to me, a more authentic reflection of the humbleness of where Joan’s life ended than any traditional gallery could offer.

What Joan lost in material possessions, she gained in purpose and joy. Her life distilled into what nine porters could carry. She found a sense of completeness long before she had completed her journey.

That’s what I hope to convey in the improvised, immersive pieces shown in the warm belly of my limestone vaults. People forgive imperfection and lack of polish as they connect with Joan’s story through their hands, senses and bodies.

Just as artists learn to see not just form but negative space – the shapes between things – so Joan’s outwardly abundant life transformed into an inner world: slower, quieter, less visible, but not lesser in any way.

Maybe this is a natural outcome of ageing… the gentle decluttering of ambition and a reshuffling of values. Or maybe Joan’s story is a simple reminder that richness cannot always be seen and meaning doesn’t always require an audience.

The symmetry in our shrinking trajectories is just an observation.

But it feels strangely right.

IN PROCESS…

Sunday 19th October, 11am-5pm and by appointment until 1st November.

The Vaults, 114 Bisley Road, Stroud

 

 

 

Creativity in times of destruction…

angela findlay8 Comments

“It’s brutal.”

That’s how a friend recently described being an artist. He had been a student at Goldsmiths in the late eighties and early nineties, during the rise of the Young British Artists (YBAs) like Damien Hirst, Tracy Emin and Sarah Lucas, names that would go on to dominate the art world, thanks in part to the patronage of Charles Saatchi.

We ran into each other at the local paint shop—a regular stop for him in his current life as a decorator. Across a spread of tester pots and fillers, the conversation effortlessly turned to the day-to-day grind of being an artist. Over the summer I have been preparing for my forthcoming exhibition, In Process… (which opens today, 27th September!) and was feeling the impact of long, solitary studio days, wrestling with questions only I was posing and whose answers seemed only to matter to me. It can be a struggle: adhering to a discipline of showing up as captain to a ship with no passengers, steering a course to a nebulous destination, deep-diving into the depths of the soul, mind or body – wherever the well of creativity bubbles up – to haul tiny gems to the surface. Exhaustion and self-doubt often creep in.

‘What’s the point?’ is the main saboteur. The work seems irrelevant, the purpose elusive. There’s no financial gain, just costs. In the isolation of the studio, there’s no one to argue with those thoughts. Indeed it is easy to agree with them: Why bother?

And in times of widespread destruction – whether global or even personal – that sense of futility can grow.

This summer, for example, parts of my home were stripped back to their foundations. My life was overtaken by builders, noise, dusty cups of coffee and chaos. Creativity felt all but impossible. In the grand scheme of things, this was a minor inconvenience. Soon, things would return to normal. But what about those whose lives have been shattered by larger forces… wars, displacement, destruction and poverty on a massive scale? How does creativity find its place amidst the rubble of Gaza, Ukraine, or other war-torn regions? Or even amongst the devastating images that make their way into our minds?

History has shown that creativity can thrive in the moments when everything appears to be falling apart. Creative expression becomes a form of resilience, opposition, even survival. It can be a small act of regaining control in an otherwise uncontrollable situation; a conduit for grief, an out-breath for trauma, a balm for moral wounds. Marks on walls or scraps of paper cry out: I am still here.

In today’s news-filled world where conflicts and politics pitch people against each other while social media distracts and distorts, I feel the call to act. To do or say something that will make a difference. I contemplate taking to the streets and marching in protest. Or superglueing myself to a pavement. I wonder if ‘speaking out’ involves publishing endless blogs and posts on social media denouncing what (I feel) is wrong? Ineffectuality wears one down. 

But to me, the direction of the human race is a force majeure, too big for even the Trump to halt. We find ourselves swept in its rampageous current, both unwilling cogs in the destruction of things we once valued, and parts of an optimistic surge to re-build better. I feel feeble and impotent. When I can’t even open the lid on a jar of gherkins, how can I shift anything of significance? But maybe this disorientating maelstrom is precisely the context in which creativity becomes most vital. Maybe the internal orientation creativity demands provides a space for the mind to process, to breathe, to make light of the weight and sense of the senseless, and to find fragments of meaning in what frequently seems like an overwhelming mess.

Destruction can’t defeat creativity; it calls it forth, demanding that we seek beauty, purpose and points of connection. That process can feel ‘brutal’.  What’s the point? is never far away. But I try to remember: The point is not always to create something monumental. Nor is it to offer neat answers. Sometimes, the point is simply to make something that wasn’t there before, to keep moving forward and to hold onto the belief that every act of creation – however small and seemingly insignificant – is a counter movement, an act of defiance, a stand against that which threatens to destroy us. 

In Process… at The Vaults in Stroud

I have heaved my most recent exhibition out of a time of dark chaos. But as I – and it – clawed our way to the surface, it grew its own wings. Help came from unexpected places. Beauty emerged. And now it is there, in the Vaults, among the grapes on my vine, fruits to share.

There was a point!

You are so welcome to visit.

IN PROCESS…

In Process… Opening Times:  

  • Saturday & Sunday 27th/28th September, 11am-4pm
  • Monday 29th September – Friday 3rd October, 2-5pm
  • Saturday & Sunday 4th/5th October, 11am-5pm
  • Sunday 19th October 11am-5pm
  • And by appointment at other times throughout October (excluding 10th–17th and 22nd–26th October)

If you would like more context to the work in the exhibition prior to coming, please read my previous three blogs: Following Joan… Parts One, Two & Three.

Following Joan… Part Three

angela findlay6 Comments

(If you are joining Joan’s story now, you might want to read Following Joan… Parts One and Two first.) 

‘Do you think she jumped… or did she fall?’

It’s 2020 and I am sitting opposite my uncle, a grandfather clock tick-tocking the present into the past.

That question has always lingered around the name of my Great Great Aunt Joan. She was said to have been troubled, never having recovered from the death of her beloved older brother, Gerald, killed at Gallipoli in the First World War. Ill health had dogged her. And as another war loomed on the horizon, perhaps she could not bear to witness more loss. 

I sometimes wish I could type ‘Joan Legge’ into the search box of my life’s hard drive to locate the exact moment her story began to intrigue me. Perhaps it was a conversation with my grandmother, Joan’s niece. Both she and her younger sister had believed, independently, that Joan would not return from her trip to the Himalayas in 1939. Their mother was said to have ‘the gift’ – an unfathomable intuition, a form of knowing that slips past reason. 

That fascinated me, for even as a child I sensed there were hidden channels of communication and knowledge beneath the surface of ordinary life. Perhaps their foreboding of no return planted the idea that Joan’s death had been deliberate.

Joan 1905

Or maybe it came from the anecdotes I gleaned over time from my father and uncle about this eccentric spinster who, after Gerald’s death, cast off the frills and trappings of aristocracy and privilege to forge a life of farming, service and adventure. A life that ended in solitude, in a remote valley half a world away. 

Some lives close with a sense of completeness, even peace. Death may be welcomed after a struggle with illness or the slow wear of age. Others remain unfinished, wrapped in mystery, unresolved, tugging at the conscience of descendants like a child clutching at its mother’s apron strings. 

Joan’s sudden death was of that latter kind. It sent shock waves through the generations, softening with distance into small ripples. Even now they lap at the shores of my own soul. 

Map of the Valley of Flowers, the site of Joan’s camp, death & grave marked in red
©Staffordshire History Centre

It was only last year, travelling to the Valley of Flowers with three of Joan’s descendants, that I fully grasped the scale of her courage. And the violence of her end. The monsoon rains offered us just a fleeting glimpse of the place she fell, its position traced on a map sketched in the days after her death. Yet it was enough to shatter the gentler image I had long created of her tumbling down a wooded slope. The truth was starker. Joan had fallen clean over the edge of a sheer granite cliff.

Her fall haunts me. Those unthinkable seconds of awareness, knowing you are hurtling toward your end. How different from a death that comes inch by inch, offering time to prepare, to resist, to rage, or to reconcile. In July 2024, when I left the Valley of Flowers and Joan’s remote grave, a sudden grief overwhelmed me, buckling my legs and landing me in a pile of donkey droppings. Yet Joan’s own words leave no room for doubt. Her diaries brimmed with excitement for the months ahead, with awe for the surrounding peaks, and with delight in her adventure. She did not choose death. She was very much alive.

So why does her story touch me so deeply? Why not my great grandmother, killed in a car crash?  Why not my grandfather, the ‘muck and magic man’, pioneer of organic farming? Why Joan? And why me – the only one in the family drawn, again and again, to the lives behind us rather than those unfolding ahead? Is it because I have no children to anchor my gaze forward? Or is it that I have no children precisely because the voices behind me insisted on my attention?

Gerald (far left), Joan’s father (seated left), Joan (centre) and others, 1907

Perhaps neither, or both. What I do know is that the dead have enriched my life. And in honouring them, in breaking the silence of the unspoken, in unravelling the mysteries and untangling the knots they left behind, I believe their presence has enriched the lives of others’ too. 

Through my recent studies in Family Constellations, I have increasingly come to experience life as a river, flowing on with or without us. We step into its current for longer or shorter spans, mingling in the same waters where our predecessors once moved. What matters is not the length of time, but the resonance we leave behind. Not quantity, but quality.

Birth is the one beginning we all share. But our endings are as varied as our lives. Accident, chance, destiny, choice… no one can know death’s moment or manner, only its inevitability.

So was Joan’s death a tragedy as her obituaries mourned? Or was it a brilliant ending to a life lived fully right into its final breath? 

Draft for Joan’s eulogy by her sister: ‘If in another world kindred spirits dwell together there Joan & her brother Gerald will be found, I think, among a happy throng of pioneers and explorers of all ages. Courage, endurance and an indomitable will were possessed by this devoted brother and sister and both lie buried in a mountain grave & as one of her friends wrote, ‘”already halfway to Heaven”. She started on her greatest hazardous adventure joyfully and she died as she had lived, unafraid – ‘

Joan and Gerald, 1907

I dedicate this blog to my dear friend in Australia, Tas. Over the past six years, corticobasal syndrome (CBS) has been claiming his body, his movement, his speech. And yet his spirit, his humour, his integrity and his enduring delight in friends, family and life itself still blaze. To know him is both an inspiration and a gift I deeply treasure.  

Further details of my exhibition / event on Joan will follow in my next Blog.  

Following Joan… Part Two

angela findlay1 Comment

(If you are joining Joan’s story now, you might like to read ‘Following Joan… Part One’ first)

‘Goal reached, Valley of Flowers. Fritillaries nodding their heads around me. Men off.’ 

On 20th June 1939, just over four months after leaving England, 54-year-old Joan and her troop of porters reached the Valley of Flowers in the northern Indian Himalayas. 

It was ‘a morning in a thousand’. Firs and jasmine scented the air, dew drops sparkled & everyone was cheerful & happy. The track wound up and down until it suddenly dropped sheer to the river. At the bottom, the worst native bridge Joan had encountered yet stretched precariously across a particularly turbulent section. ‘If I had met it in the early days I don’t think I could have faced it.’  

Then came a real climb, so steep she had to crawl part of the way. Even with ice axe and climbing boots, she couldn’t stay upright. The path clung to the side of a mountain which plummeted several hundred feet into the raging waters below, the ground crumbly and uncertain. But she pressed on. ‘One is so busy placing feet that one hasn’t time to think of possibilities.’ 

They slid down a precipice, hanging on to rhododendron bushes, crossed another snow field, then climbed again. Ganga Ram & Amba Dath – two of Joan’s three most loyal young guides – clearly thought she was too slow. ‘Each took a hand & ran me up paying no heed if I was on my feet or not. I had to beg for mercy twice as really they nearly finished me off,’ she wrote. And then they were there. The goal reached. The Valley of Flowers.

Tents were pitched exactly where mountaineer and author Frank Smythe had camped for several months in 1937. With three men managing the camp and plans to stay there until October, Joan was free to roam and explore the terrain of her new home in search of alpine flowers. The monsoon rains were gathering. Conditions would soon become unimaginably wet and the ground increasingly treacherous. But Joan was deeply happy.

July 2nd. ‘It was the most glorious evening, every way you looked magnificent, through the gorge range upon range of perfect mountains…’ The descent from these dizzying heights, however, was less glorious. Rains had rotted much of the ground and the final stretch was so steep that she had no choice but to descend on her seat, using the ice axe as a brake. Yet Joan revelled in challenge and beauty alike, undaunted by danger, enchanted by flowers and alive to every shifting shadow. ‘All the way back to camp I had the great joy of watching the last sun on the peaks across the river, orangey pink… the rest of the snow getting white & harder, then that green when they look so severe & unapproachable.‘

That night was lovely but cold. A bright moon rose over the range, catching the snowy summits in the east. Though Joan’s camp lay in darkness, the moonlight made the mountains glow. ‘A fairy world,’ she wrote, ‘beautiful beyond words.’

July 3rd. ‘The men started singing before 5 o’clock this morning, it sounded so nice. The ground has all dried up & things are extremely lovely. If we get spells of two days fine, it will be a great help. Everything is growing very fast.

The following day, Joan was dead.

©Staffordshire History Centre

As abruptly as her life ended, her diary – so alive with wonder – skids to a halt.

Silence.

A telegram or letter from the sub-postmaster in Joshimath informed her family. Joan had slipped, fallen and died instantly. Due to the remote terrain, her body was carried back to camp and preserved in the snow until a magistrate could formally record the death. When her sister, Dossy, requested that Joan be buried in the valley, a small grave was made. A year later a headstone was erected, apparently delivered by Dossy herself.

Except that last bit has been deemed most unlikely by Dossy’s grandchildren who can find no record of their grandmother having made the long, arduous journey to India in the first year of the Second World War.

Without Joan’s detailed voice to explain what happened, conflicting accounts have taken root, a Chinese whisper of history… herstory. Was she reaching for a flower to add to her collection of specimens for Kew Gardens? Did she just slip, the edge of the cliff invisible in dense fog? For several years, I’ve tried to disentangle fact from error and in late July 2024, I and three of Joan’s descendants travelled to Ghanghariya, a colourful, bustling shanty town of damp hotels, pilgrims and donkeys, ready to make the long climb into the Valley of Flowers. The landscape might not reveal the past, but it could not lie.

Ghanghariya

We were warmly welcomed at the impressive Information Centre, honoured guests of the great-great-grandchildren of shepherds, villagers, and guides from Joan’s time each eager to share their version of what had happened to ‘Legge Ma’am’. Soon I had scribbled five different endings to Joan’s life in my little green notebook, the one that would mysteriously vanish a few days later as if to tell me: it didn’t really matter. The only truth that did, was that Joan had not been forgotten.

The next day we set off, once again retracing Joan’s footsteps, traversing the same raging river (via a slightly less terrifying bridge) and climbing the steep slopes into the valley.

Low cloud concealed Joan’s snowy ‘majesties’ and even the valley itself. Flowers, shoulder high, lined the narrow trail until a small hand-painted sign forked it and directed us to the right.

‘Leggy Grave’ could not have been more remote. With the original, broken headstone having been generously replaced by Infinity Outdoor Explorers and the area lovingly tended by villagers, Joan rested, Ophelia-like, among geraniums, potentillas and flowers whose names I don’t know. But she did.

Buried under snow for eight months of the year, this was where my intrepid great-great aunt found peace. A ‘lost daughter of the Himalayas’. And in the prophetic words of the sub-postmaster written over eight decades ago, ‘though death is inevitable, her death in a lonely forest under the tragic circumstances will always be mourned.’

While Joan lives on in the hearts and imaginations of people in northern India – many of whom have trekked miles to pay their respects – back in England, her name, her journey and her collection of flowers had all but vanished into the obscurity of family attics and forgotten archives. She entered my orbit in my twenties, a bright star that inspired independence, courage, a different way to be a woman in the world. I’ve followed her willingly, right to the edge. Imagined her fall… falling… falling… time stretching to infinity like a bungee… then snapping.

A tragic death, or an enviable end to a life well-lived? I’ll let Joan speak for herself.

‘… if we would only give up struggling after worldly things. They don’t count much when you come face to face with what the old Sardou calls the sublimity of the Himalayas whose magnificence, serenity and everlastingness grip one right to the core. You will probably think I am mad, but I don’t think so. There are things that stand and are I think increased, they are love and gratitude.’

Joan, June 1939

Forthcoming Event:

At the end of September, you are warmly invited to an exhibition/series of events showing research and art created in honour of Joan. Exact dates and details to be confirmed, but it will be in the beautiful Chapels of Rest in Stroud Cemetery.

Following Joan… Part One

angela findlay3 Comments

On 17th February 1939, Joan Margaret Legge boarded the T.S.S. Hector at Birkenhead’s Vittoria Docks and set sail for India. Surrounded by a flurry of last-minute flowers, letters and good wishes as well as Leica cameras, rolls of Kodak film and 17 packages from Fortnum & Mason, she began a four-week sea voyage that would deposit her in Mumbai. From there she would travel north by train to the Himalayan hill town of Ranikhet. And so, aged 54, began her greatest adventure.

The year before, Joan had read mountaineer Frank Smythe’s newly published book The Valley of Flowers and was so captivated by his descriptions of the majestic Himalayas that she resolved to go there herself. With the intention of adding to the collection of flower specimens Smythe had collected, she offered her services as a keen albeit amateur botanist to Kew Gardens, who willingly accepted sending her flower presses and detailed instructions on how to collect and preserve flora from the field. 

Some of Joan’s specimens from N. India in 1939, recently digitalised ©Kew Gardens

Her daily diary entries – written in tiny, meticulous script – and a remarkable collection of surviving photographs, now housed at the Stafford Archives, paint vivid scenes of rural life in northern India. As a woman navigating imperial times, Joan observed the stark poverty, the tangled legacy of British rule, and the troubling presence of Christian missionaries amid deeply rooted local faiths. Yet she did so with sensitivity and genuine curiosity, not the arrogance or entitlement so often associated with her era. She taught herself enough Hindustani to converse with those she met along the way, delighting in children, cups of tea, goats with saddle bags and botanical novelties in equal measure.

©Staffordshire History Centre

Several months of acclimatisation treks around Ranikhet gave her time to assemble a team of guides and porters and to test her equipment – tents, a canvas bath, ice axe and other supplies – in preparation for the ultimate trek to her final destination: the remote, high-altitude Bhyundar Valley, nestled just south of the Tibetan border. On May 22nd, they headed north.

31st May, 1939. Arrival at the Kuari Pass: “A very great day in one’s life”

As I have mentioned in earlier blogs, Joan was my great-great aunt on my father’s side. And last July, three other descendants and I retraced her Indian footsteps. Together with local guides who were already familiar with ‘Legge Ma’am’ as they fondly and reverently called her, we made our way to some of the same hills and valleys she once walked, recognising waterfalls, temples, holy trees, bridges and landscapes she had captured in both writing and image.

Like all pilgrimages to places of memory, her story seemed to reassemble itself in the elements around us: the humid air, the scent of pine needles crunching underfoot, the wind and monkeys dancing through the trees, the sheer drops and raging rivers, the saffron-clad pilgrims, and the fleeting glimpses of snow-covered peaks – ‘the Glories’, as Joan called them in her awe – emerging through shifting skies. As the four of us dipped our toes into the trials of that wild and beautiful land, its altitudes, its weather, its unfamiliar rhythms, her quiet courage and unflinching resilience rose steadily in our esteem.

Nilkanta 1939 ©Staffordshire History Centre
Nilkanta 2025

Joan’s story is that of an intrepid 54-year-old woman who displayed the same grit and independence as her more famous contemporaries, such as Gertrude Bell or Evelyn Cobbold. But unlike them, her path was quieter, deeply personal and largely unsung. Her modesty, her self-deprecating wit, and the sense of spiritual joy and serenity captured in her letters and journals only deepen the power of her achievement. The beauty and the tragedy of what came to pass have lifted Joan’s journey into something more than biography. It is a story that asks, gently but insistently, to be remembered. Maybe I am the last in our lineage to feel her so vividly. Maybe I am the one meant to tell it.

Vittoria Dock, Birkenhead 17.02.2025

With that in mind, on 17th February 2025, exactly 86 years after Joan set sail, I stood at Vittoria Docks in Birkenhead to symbolically wave her off. I imagined the Hector gliding down the Mersey, carrying with it not just Joan and her belongings, but the promise of new horizons and adventure. I walked beside the ghost of that ship until it reached the sea, trying to feel what she might have felt… the thrill and anxiety as she watched the landmass she called home and all that was familiar fade from view.

Daily Instagram posts: @ angela_findlay

Since that day, as some of you will know, I’ve been following Joan’s diary in real time, reenacting something she saw or did each day, capturing it through a single square photograph, posting it to Instagram, and translating it into an artistic rendition on a page in one of several dedicated sketchbooks.

Just as she did, I keep a written diary threading her life into my own. These past months have served as a reintroduction to my artistic practice, long abandoned as my brain grappled for a decade with words rather than images to write the story of my German grandfather. The process has involved an exploration of techniques in visual storytelling as I reacquaint myself with paints and brushes, scissors and glue, clay and plaster. Layers of collage stitch tenuous patterns between past and present, India and England, flowers living and long dead.

As today’s world echoes the precariousness of Joan’s, my gaze drifts over flowers and leaves, tracing their delicate lines in quiet wonder, both with my eyes and the tip of my pencil. My studio has stirred to life. And the steady rhythm of commitment and focus have birthed new creative ideas and potential collaborations.

Joan died on 4th July 1939. As that date approaches once again, I’m nearing the end of our shared journey. I will miss her – a courageous companion and inspiration. A daily reminder of a world that predated the horrors of WW2, ecological destruction, plastic waste and the proliferation of smart phones. But Joan’s story didn’t end with her death. And my telling of it doesn’t end in the fourth incomplete sketchbook.   

AI… An Artist’s Slippery Slope?

angela findlay14 Comments

This month I dipped my toe into the brilliant and deeply unsettling ocean of AI’s potential. I’m a bit late to the game, but for fun, I asked ChatGPT to write a synopsis of a piece based on a few scraps of information. Within seconds, it had. Not only that, it praised my “sensitive yet powerful” style and described my opening as “strong and reflective,” – causing a ridiculous flutter of flattery – before offering to adapt the piece into a short radio feature.

Writers are just one of many professions for whom AI is a game-changer: a time-saver, free editor, spell-checker, researcher and source of both inspiration… and misinformation. It was uncannily attuned to the contents of my book, In My Grandfather’s Shadow, which I’ve recently discovered had, along with millions of other authors’ works, been quietly harvested by Meta for AI training – without permission, acknowledgment, or any form of compensation. Authors’ licensing rights swept aside in the data goldrush.

At Bath Literature Festival last week, I interviewed Daniel Kehlmann – “the finest German writer of his generation,” according to Salman Rushdie. In his latest novel, The Director, Kehlmann reimagines the life of G.W. Pabst, a once-celebrated silent film director, tracing the moral compromises he made as he navigated a precarious and murky artistic path through the rise and fall of the Nazi regime. It is a brilliant read and couldn’t be more apposite.

I also watched the newly released film Riefenstahl, about one of the most controversial cultural figures of the Third Reich. Leni Riefenstahl’s 1935 Triumph of the Will is a visually stunning albeit ideologically chilling portrayal of the 1934 Nuremberg rally. Her talent for cinematic innovation is undeniable, but so is her closeness to Hitler and one of the darkest regimes in human history. To the end, however, she insisted she was not a Nazi but merely “an artist,” obsessed only with beauty, form, and structure. She claimed she had no knowledge of the Holocaust and never apologised. 

What links AI, Pabst, and Riefenstahl are questions of artistic freedom and moral compromise. Both directors pursued their creative ambitions under a political leadership that demanded ideological conformity. Riefenstahl willingly. Pabst, more reluctantly. But both became complicit in horror. And that complicity, as Kehlmann skilfully shows, is often quiet, mundane, and all too human.

One scene in The Director stays with me. Pabst’s wife, Trude, attends a stifling book club of wives of high-ranking Nazis. As coffee is served, the conversation drifts to the new porcelain set and a glittering sugar bowl. A flurry of admiration. Silence. Then a quiet, hesitant voice says she’s “seen one like that… but not here… over at the…” The implication is clear: the bowl came from a confiscated Jewish home. Beauty and brutality blend into the everyday.

Another scene captures the power of self-censorship. A member praises a banned play and is swiftly expelled from the group. “A circle like this is based on agreement,” the host says. “On harmony. Where that is not the case…” The others hang their heads and remain silent. Agreement through fear. Harmony through complicity. 

We probably all know such moments. Times we wanted to speak, but didn’t or felt we shouldn’t. 

Eighty plus years on, we are in very different times, but similar dynamics are re-surfacing in modern contexts, not least under Trump’s presidency, and certainly within our digital lives. AI, algorithms and social platforms are increasingly shaping what we see, create, think and consume, often without us even realising. The slope is slippery, not only because of dramatic, evil choices made by tyrants, but because of the many small, unexamined ones made by the rest of us.

I haven’t worked out yet how or where to dig my heels in to prevent what I fear is a downward slide. Ease is such a temptress after all. And maybe some of AI is no more morally fraught than the telephone, which saved – and lost – us the art of letter-writing; or the camera, which snapped rather than painted landscapes; or Google Maps, which delivers us to destinations with little connection to the journey. Our tool kits for life have always evolved with time. So isn’t it right, necessary even, to adopt and adapt?

Maybe yes. But AI has no values. No morality. No nuance. No sense of consequence. Those are ours to guard with vigilance and intention, in the choices we make and the art we create. Because isn’t beauty inseparable from ethics? Aren’t feeling, meaning, soul, responsibility the very qualities that still set us apart from technology; the keys to remaining humane?

Detail of painting by Angela Findlay

I remember decades ago walking into a David Hockney retrospective at the Royal Academy. Near the entrance hung a series of portraits, typical of Hockney’s flat distinctive style, but they felt particularly mechanical, soulless. Inside, I saw the same portraits again, but these positively vibrated with life and presence. The former I learned, were digital reproductions, technically flawless, visually identical, but missing the very essence of art – human creativity, the trace of touch, the soul behind the brushstroke.

That’s how we know when something is real. Our souls have a gauge for truth.

We feel it.

Further Reading and News:

How to Make Art Under the Nazis (Without Losing Your Soul)

Riefenstahl review – nauseating yet gripping story of Nazi poster woman

I am participating in Site Festival 2025 Open Studios: SALE of older work, & new project to view. Sat 14th – Sun 15th June 11am – 5pm; Sat 21st – Sun 22nd June 11am – 5pm. Or by appointment

A Pope, a Rabbi and an 80-year-old Victory 

angela findlay3 Comments

April saw the death of the widely loved Pope Francis, the Jewish festival of Passover, and the gradual build-up to the 80th Anniversary of VE Day (Victory in Europe) in May. An unusual trio of events, yet radio coverage of all three wove threads of reflection into the tapestry of this blog. 

Compassion was central to Pope Francis’s papacy – particularly towards those who are rejected or marginalised. He often spoke about the importance of honouring and never abandoning our grandparents. “If you want to be a sign of hope, go and talk to your grandfather,” he was quoted as saying. They remind us that we share the same heritage, link us to “the beauty of being part of a much larger history… a loving plan [that] is greater than we are.” He also had the humility to say “I am a sinner,” which makes me wonder where that leaves the rest of us!

In a recent Radio 4 Thought for the Day  (at 1:47:45), Chief Rabbi Sir Ephraim Mirvis described Passover as the ‘Festival of Questions;’ a time to ask, to probe, to test assumptions, refine our understanding and uncover the truth. 

If we try to apply the guidance of both spiritual leaders to the forthcoming celebrations of VE Day on 8th May, we may find ourselves asking how the grandchildren of the ‘losers’ of WWII – many of whom had been perpetrators or complicit in Nazi atrocities – might ‘honour’ their grandfathers. How do you love – should you even try to love – someone who has acted immorally, abhorrently, even if those acts were sanctioned or ordered by a higher authority and deemed the right thing to do for Volk and country?

I’m all too aware how unfashionable, controversial and even provocative it is to suggest we spare a thought for the perpetrators. But in keeping with the spirit of my triangle, I am going to ask you to do just that. Many people, from all sides of the conflict, are quick to judge, blame and damn the Wehrmacht soldiers and SS as an indiscriminate mob of ‘monsters’, all morally inferior and wholly undeserving of being remembered. It’s completely understandable. But where does that leave their children and grandchildren? What happens when we continue to draw a line between the ‘good us’ and ‘bad them’, a distinction that may have served its time but no longer helps us move forward? Isn’t one of the most crucial lessons of this horrific chapter in history to recognise that most perpetrators were not monsters, but ordinary people… like you and me… who, through a slow drift of compromise, small decisions and ill judgements became capable of unimaginably heinous crimes? 

Eighty years on, with more than 88% of the German population having been born after the war’s end and a further 11% still children at the time, it’s difficult to place ‘guilt’ for the Holocaust on the Germans of today. After all, people cannot be guilty of things they themselves didn’t do. Yet, like many descendants of Holocaust victims and survivors, some non-Jewish Germans born in the decades after the war still wrestle, often unknowingly, with the unresolved trauma and guilt passed down from their parents or grandparents. They carry what Eva Hoffman aptly described as “the scars without the wound” – invisible wounds that silently shape their internal world and influence their actions in the external world. 

Without detracting anything from the horrors and suffering of the victims, can we imagine for a moment how it might be for post-war generations of Germans to live with legacies of silence, cover-ups, not-knowing, judgement, exclusion, blame or shame in relation to their roots? Mistrusting family stories. Wondering who knew and who did what. What impact does this have on individuals, families, societies, nations and ultimately, the wider world? How can one best deal with such a profound inheritance?

Primo Levi – who, as a Holocaust survivor had every right to think the opposite – declared that collective guilt does not exist. To think that it does is a relapse into Nazi ideology. Both he and Hannah Arendt made a powerful claim: “We are all to blame” for what happened. Collective responsibility is what matters. And that involves understanding how atrocities occur both in society and within the individual. How we become complicit. 

The roots of Nazism found fertile soil in the humiliation wrought by the terms of the Treaty of Versailles and the deeply resented ‘guilt clause’ that placed full blame for WW1 solely on Germany’s shoulders. Applying a similar dynamic to today, could there be a connection between this historical pattern and the rise of the AfD (Alternative für Deutschland), Germany’s nationalist far-right party — a movement fuelled in part by a desire to reassert national pride and, as encouraged by figures like Elon Musk, to move beyond what they perceive as an excessive “focus on Nazi guilt”?

The 2019 survey previously cited revealed that few Germans actually feel guilt and 70% (including 87% of AfD voters) believe their country has now sufficiently atoned for the actions of the Nazi regime. Another source revealed that 75% of young Germans (erroneously) believe they come from families of resistors, while 25% can’t name a single concentration camp or ghetto. As the number of living contemporary witnesses dwindles, disinformation, denial and delusions are spreading. With them, the sense of responsibility risks disappearing too – a deeply worrying and dangerous trend. Knowing firsthand the insidiously destructive effects of being shamed for a familial association with the Nazi era, I can understand how, eighty years on, rejecting any semblance of inherited guilt might feel like a healthy response. After all, who among us wants to feel terminally tainted by the wrongdoings of their forebears? Who wants to have to cut off their roots?

The marriage of my parents in March 1962

I feel fortunate that, while living in England with my German heritage was at times challenging, my parents and their families modelled true reconciliation throughout my life. My British father and German mother married just 17 years after the Second World War ended. Both their families had suffered and lost loved ones and/or homes under the others’ military objectives. Yet both found the courage to drop into their hearts and overcome division and enmity. And that, to me, is where the solution lies: in our hearts.

Patriotism is hollow if it is based only on pride and honour. Shame and conscience lead to a deeper bond. Seeing the world in binaries – in terms of ‘us’ and ‘them, good and bad, right and wrong – shuts down love. Reconciliation becomes impossible. As Britain celebrates its triumph over the evil forces, let us also remember we were not all good and they all bad. Among other short-comings, we too were guilty of antisemitism and of failing to help the Jews more. 

In another recent Thought for the Day, Rhidian Brook warned, “If you can’t see the other side’s humanity, you’ve lost.” 

My 80th Anniversary VE Day wish, therefore, as both a British and German citizen, is for us to follow the example set by the late Pope and Chief Rabbi: to think, to probe, to get uncomfortable, and to find compassion for individuals among the rejected and ostracised.

Eighty years on, might this be the moment to create new rituals of peacekeeping and unity? Without dampening the spirit of national joy, how can we include – and stand hand-in-hand with – our contemporary German friends in celebrations of peace, rather than reinforce historical divides?

Can we develop broader, more expansive narratives that encourage younger generations of Germans to face the difficult and painful truths of their families’ histories and to assume responsibility, not for what was done, but for what is still to be done? Can we remain vigilant against resting on any imagined moral high ground, against believing we would have undoubtedly been resistors and heroes under the Nazi regime? And can we instead recognise how thin the ice of democracy is becoming once again, and how difficult it is, even now, to change the course of history?

Events coming up:

Friday 2nd May, 12-1pm 
The Second World War 80 years on: Is Remembrance Working? 
Angela Findlay and Henry Montgomery In Conversation
National Army Museum, Royal Hospital Road, Chelsea, London SW3 4HT and ONLINE
80 years on from the German surrender to the Allies, Henry Montgomery, grandson of Field Marshal Bernard ‘Monty’ Montgomery and Angela Findlay, granddaughter of General Karl von Graffen of the German Wehrmacht will reflect on their grandfathers’ roles and actions in WW2 and discuss the differences in the histories, legacies and remembrance cultures of the victors and the losers and how Remembrance can remain meaningful and effective for younger generations. 
Info and tickets (free) here. 

Thursday 8th May, 18.00 – 19.30 
Im Schatten Meines Großvaters / In My Grandfather’s Shadow
Vortrag und Gespräch / Lecture and Conversation 
Marktkirche, Hanns-Lilje-Platz, 30159 Hannover, Germany

Thursday 15th May, 17.00 – 19.00 (UK time)   43. Gesprächslabor, PAKH: The Study Group on Intergenerational Consequences of the Holocaust (ONLINE)? Drawing on my own experiences outlined in my book, In My Grandfather’s Shadow, we will be discussing how such a destructive legacy can be transformed into constructive, reconciliatory approaches and positive actions. More info here: https://www.pakh.de/event/gespraechslabor-40/  

Buy or read reviews on my book, In My Grandfather’s Shadow, here

From screens to Spring…

angela findlay3 Comments

Spring is Nature’s childhood. It’s frequently associated with youth, new beginnings and innocence. Yet while blossoms skip through our outdoor landscapes, our screens highlight with renewed urgency the premature loss of innocence of our younger generations with devastating consequences to their mental health, education, relationships and identity.

With that in mind, I was going to write about the new Netflix series, Adolescence, that has provoked widespread debate and concern about toxic masculinity, the ‘manosphere’ and sexist ‘manfluencers’ like Andrew Tate. (If you haven’t seen it, I can only encourage you to do so). Online platforms and social media are abuzz with it. Even Radio 4’s Moral Maze dedicated its weekly slot to exploring the question: What’s wrong with men?

Plenty more such questions could be asked in relation to the various world leaders dominating our headlines – Trump, Putin, Zelenskyy, Netanyahu, Starmer, Pope Francis – who between them are presenting a smorgasbord of appealing to repellent aspects of maleness.

I also considered writing about my recent visit to one of London’s dilapidated prisons – organised by the wonderful charity Prison Reading Group – to deliver a session on my book to a group of male prisoners who had read it. About the lingering impressions I’m left with, both of the shabby, four-storey wing that looked, smelt and sounded like your worst imagining of incarceration, and of what happened in the tiny room embedded in it that offered space for our inspired conversation. As always, I was touched by the men’s deep grasp of the themes I address in In My Grandfather’s Shadow, their carefully prepared lists of insightful questions, their gratitude for the positive impact the book had made on their lives. As always, I felt intense frustration at a system of wasted opportunity, money, time and human potential. As always, the wounds left by the absence of fathers, positive male role models and the learned ability to deal with overwhelming emotions glared red.

Detail from a handmade thank-you card from Prisoner B

But in the end, I couldn’t face writing about any of these huge and complex topics, even though they occupy my thoughts.

Instead, I find myself once more turning my focus to the more uplifting emergence of spring flowers both in nature and my garden. And to my inspiring great great aunt who travelled to India to gather floral specimens for Kew Gardens and in whose steps I am metaphorically walking for the next few months, following her diary as she sails from Birkenhead to Mumbai and then trains it up to the Himalayas. Each day I am reenacting a small action or activity she did in 1939, taking a slightly oblique photo that relates to it, posting it on Instagram (angela_findlay) and then creating an experimental collaged page in my sketch book. It’s my way into telling her story.

Daily photos on Instagram

From 17th February to 13th March she was on board the T.S.S. Hector cruise ship playing quoits on deck or holed up in her cabin feeling seasick. (Not easy to make ‘art’ out of either!) There followed a few ‘outstanding’ days in and around Colombo visiting tea plantations and paddy fields, another sea voyage and several trains to the small hill station of Ranikhet in Uttarakhand. This will be her base for several months as she acclimatises, goes on practice treks and waits for the snows to melt further north giving her access to her ultimate destination, The Valley of Flowers. 

early beginnings of daily sketch book pages…

With deep regret I am coming to accept that I am not one of those exquisite botanical painters whose sketch books are veritable works of art. And I am sorely lacking in the plethora of technological and digital tools that are creating mind-blowing new universes in the art world. But I find solace in the fact that like Joan, I too am on a journey towards a (in my case, artistic) destination unknown, exploring and accompanying this intrepid female relative on her solo adventure. Ironically the worldly backdrop to her trip are the precarious months leading to the start of the Second World War. Mine is the run-up to the 80th Anniversary of its end. Or, if stupidity and egos escalate in the wrong direction, the beginning of the third…

War, the word alone snaps me back to present reality. I imagine we are all treading this fine line between engagement with the wider pain and travails of so many and the small (and big) joys and concerns that can be found within our homes and lives. How to care and act without losing sight of the beauty and wonder constantly available to us? How to engage with the immeasurable force of Nature’s creativity rather than human beings’ destructiveness? How to stay awake and feel, but not succumb to anger or blame?

It’s an on-going practice… a dance. And Spring feels like a perfect time to take to the floor.