Wikio - Top Blogs - Religion and belief

Wednesday, 10 June 2026

I have come to fulfil the Law

Here's the sermon I shared this morning at St Andrew's Wickford:

In The Lion, the Witch and the Wardrobe the Deep Magic “was a set of laws placed into Narnia by the Emperor-beyond-the-Sea at the time of its creation. It was written on the Stone Table, the firestones on the Secret Hill, and the sceptre of the Emperor-beyond-the-Sea.

This law stated that the White Witch, Jadis, was entitled to kill every traitor, and if someone denied her this right then all of Narnia would be overturned and perish in fire and water. However, unknown to Jadis, a deeper magic from before the dawn of Time existed, which said that if a willing victim who had committed no treachery was killed in a traitor's stead, the Stone Table would crack, and Death would start working backwards.”

So in this story, there is a Law which is about actions and consequences and there is a deeper Law which is about love. C. S. Lewis, who wrote the Narnia stories, was a Christian who drew on his understanding of Christian faith in writing his stories. It may be that he had passages like today's Gospel reading (Matthew 5. 20 – 26) in mind when he wrote about the deeper magic from before the dawn of Time.

Jesus is saying in his teaching from Matthew 5 about the Law that it is not enough simply to keep the Law. He wants us to go deeper than simple obedience of the Law and the deeper place into which he wants us to go is Love.

Most of us actually keep the laws of this land most of the time. On the whole, because the laws are prohibitions – do not’s, like do not murder or do not steal – and because we live in a time of relative wealth, our laws are not that difficult to keep.

But prohibitions simply keep us from doing harm to others. They don’t enable us to love others. Simply refraining from murdering others or stealing from others is enough to keep the Law (we call it keeping the peace) but doing these things doesn’t mean that I am actively loving anyone at all.

To love means that I have to do something more that simply keep the Law. That is what Jesus is teaching and illustrating here and it is what C. S. Lewis shows us in Narnia through his imaginative story.

Let’s think briefly about the way laws and love work together. Parents teach their children the rules of the road. To begin with, when children are very young, the rules of the road are very restrictive i.e. the child must never cross a road without a parent and must always cross at a crossing with the parent and while holding the parents hand. As the child grows, they are taught new rules for crossing the road; for me, that was the Green Cross Code - stop, look and listen. Now, the aim is that the child learns to judge for him or herself when it is safe to cross the road.

Eventually, the rules with which we began – don’t cross on your own, don’t cross unless you are at a crossing – are left behind because the child has learnt how to cross the road safely using their own initiative. Elbert Hubbard has said, “Initiative is doing the right things without being told.” We are able to use initiative because we have not only learnt the rules but have learnt to apply in our lives and situations. At this point, we are no longer restricted just to crossing the road at specific crossing places but can cross wherever we judge it to be safe to do so.

So, we have gone beyond the rules by learning and applying the rules. In other words, we have found the true purpose of those rules which our parents enforced when we were young; which is that we learn to cross the road safely by ourselves wherever we are.

Jesus is saying the same thing. The Law starts by keeping us safe – do not murder, do not steal. If we all abide by the Law then we do not harm each other. That is good, but it is not enough. We also need to learn to love one another. That means doing more than the Law requires but to do that is also the fulfilling of the Law. If the Law is about maintaining good relations between us, then love is the fulfilment of the Law’s intent.

Jesus said: “Do not think that I have come to abolish the Law or the Prophets; I have not come to abolish them but to fulfil them.” (Matthew 5. 17) and he commended, as being the heart or summary of the Law, these words: “‘Love the Lord your God with all your heart and with all your soul and with all your strength and with all your mind’; and, ‘Love your neighbour as yourself.’” As Paul writes, “Love is the fulfilment of the law.” (Romans 13. 10)

So, in order to fulfil the Law and these teachings we are to love as Jesus loved: “Love is patient, love is kind. It does not envy, it does not boast, it is not proud. It does not dishonour others, it is not self-seeking, it is not easily angered, it keeps no record of wrongs. Love does not delight in evil but rejoices with the truth. It always protects, always trusts, always hopes, always perseveres.” (1 Corinthians 13. 4 – 7).

-----------------------------------------------------------------------------------------------------------

Randy Stonehill - Strong Hand Of Love.

Tuesday, 9 June 2026

Divine Designs: Competition and Exhibition celebrating the 73 books of the Bible



Art + Christianity is partnering with St John’s Waterloo and The God Who Speaks to launch a competition for cover designs for every book of the bible.

From cover to cover, we are celebrating the Bible which in 73 books – from Genesis to Revelation – is the greatest story ever told. Our passion is to bring them alive through the medium of art in this unique competition and exhibition. We invite artists, graphic designers and illustrators from across the UK to design the front covers of any of the 73 books of the Bible.

We want to celebrate creativity and innovation and promote a greater visual awareness and understanding of the Bible today. We welcome multiple submissions (up to four), and all selected entries will create the final exhibition.

We offer seven cash prizes with an overall winner decided by our Panel of Judges.

https://stjohnswaterloo.org/arts/divinedesigns/
opencallforartistsartcompetitiondesigncompetitionthebible

-------------------------------------------------------------------------------------------------------------

Mark Heard - Well Worn Pages.

Thursday, 4 June 2026

Seen and Unseen: From monasteries to modern London, there’s a shared rule of life

My latest article for Seen and Unseen is on 'Living by the Rule: Contemporary meets Medieval' at the Sainsbury Centre:

Curators 'Barker and Krčma have said: "We are excited to bring together such extraordinary objects from the Middle Ages and works from some of the most important artists working today. We hope that this strange collision between two very different worlds will open up new perspectives on how we live now, and fresh ideas about how we might craft more balanced and meaningful lives in the future."'

For my Artlyst review of the 'What is the Meaning of Life?' series at Sainsbury Centre, of which 'Living by the Rule' is part, click here. For more on the Sainsbury Centre see here, here, here, For my interview with Jago Cooper, Executive Director of Sainsbury Centre, see here.

My first article for Seen and Unseen was 'Life is more important than art' which reviews the themes of recent art exhibitions that tackle life’s big questions and the roles creators take.

My second article 'Corinne Bailey Rae’s energised and anguished creative journey' explores inspirations in Detroit, Leeds and Ethiopia for Corinne Bailey Rae’s latest album, Black Rainbows, which is an atlas of capacious faith.

My third article was an interview with musician and priest Rev Simpkins in which we discussed how music is an expression of humanity and his faith.

My fourth article was a guide to the Christmas season’s art, past and present. Traditionally at this time of year “great art comes tumbling through your letterbox” so, in this article, I explore the historic and contemporary art of Christmas.

My fifth article was 'Finding the human amid the wreckage of migration'. In this article I interviewed Shezad Dawood about his multimedia Leviathan exhibition at Salisbury Cathedral where personal objects recovered from ocean depths tell a story of modern and ancient migrations.

My sixth article was 'The visionary artists finding heaven down here' in which I explored a tradition of visionary artists whose works shed light on the material and spiritual worlds.

My seventh article was 'How the incomer’s eye sees identity' in which I explain how curating an exhibition for Ben Uri Online gave me the chance to highlight synergies between ancient texts and current issues.

My eighth article was 'Infernal rebellion and the questions it asks' in which I interview the author Nicholas Papadopulos about his book The Infernal Word: Notes from a Rebel Angel.

My ninth article was 'A day, night and dawn with Nick Cave’s lyrics' in which I review Adam Steiner’s Darker With The Dawn — Nick Cave’s Songs Of Love And Death and explore whether Steiner's rappel into Cave’s art helps us understand its purpose.

My 10th article was 'Theresa Lola's poetical hope' about the death-haunted yet lyrical, joyful and moving poet for a new generation.

My 11th article was 'How to look at our world: Aaron Rosen interview', exploring themes from Rosen's book 'What Would Jesus See: Ways of Looking at a Disorienting World'.

My 12th article was 'Blake, imagination and the insight of God', exploring a new exhibition - 'William Blake's Universe at the Fitzwilliam Museum - which focuses on seekers of spiritual regeneration and national revival.

My 13th article 'Matthew Krishanu: painting childhood' was an interview with Matthew Krishanu on his exhibition 'The Bough Breaks' at Camden Art Centre.

My 14th article was entitled 'Art makes life worth living' and explored why society, and churches, need the Arts.

My 15th article was entitled 'The collective effervescence of sport's congregation' and explored some of the ways in which sport and religion have been intimately entwined throughout history

My 16th article was entitled 'Paradise cottage: Milton reimagin’d' and reviewed the ways in which artist Richard Kenton Webb is conversing with the blind poet in his former home (Milton's Cottage, Chalfont St Giles).

My 17th article was entitled 'Controversial art: how can the critic love their neighbour?'. It makes suggestions of what to do when confronted with contentious culture.

My 18th article was an interview entitled 'Art, AI and apocalypse: Michael Takeo Magruder addresses our fears and questions'. In the interview the digital artist talks about the possibilities and challenges of artificial intelligence.

My 19th article was entitled 'Dark, sweet and subtle: recovered music orientates us'. In the article I highlight alt-folk music seeking inspiration from forgotten hymns.

My 20th article was entitled 'Revisiting Amazing Grace inspires new songs'. In the article I highlight folk musicians capturing both the barbaric and the beautiful in the hymn Amazing Grace and Christianity's entanglement with the transatlantic slave trade more generally.

My 21st article was entitled 'James MacMillan’s music of tranquility and discord'. In the article I noted that the composer’s music contends both the secular and sacred.

My 22nd article was a book review on Nobody's Empire by Stuart Murdoch. 'Nobody's Empire: A Novel is the fictionalised account of how ... Murdoch, lead singer of indie band Belle and Sebastian, transfigured his experience of Myalgic encephalomyelitis/chronic fatigue syndrome (ME) through faith and music.'

My 23rd article was entitled 'Rock ‘n’ roll’s long dance with religion'. The article explores how popular music conjures sacred space.

My 24th article was an interview with Alastair Gordon on the artist’s attention which explores why the overlooked and everyday capture the creative gaze.

My 25th article was about Stanley Spencer’s seen and unseen world and the artist’s child-like sense of wonder as he saw heaven everywhere.

My 26th article was entitled 'The biblical undercurrent that the Bob Dylan biopics missed' and in it I argue that the best of Dylan’s work is a contemporary Pilgrim, Dante or Rimbaud on a compassionate journey.

My 27th article was entitled 'Heading Home: a pilgrimage that breaks out beauty along the way' and focuses on a film called 'Heading Home' which explores how we can learn a new language together as we travel.

My 28th article was entitled 'Annie Caldwell: “My family is my band”' and showcased a force of nature voice that comes from the soul.

My 29th article was entitled 'Why sculpt the face of Christ?' and explored how, in Nic Fiddian Green’s work, we feel pain, strength, fear and wisdom.

My 30th article was entitled 'How Mumford and friends explore life's instability' and explored how Mumford and Sons, together with similar bands, commune on fallibility, fear, grace, and love.

My 31st article was entitled 'The late Pope Francis was right – Antoni Gaudi truly was God’s architect' and explored how sanctity can indeed be found amongst scaffolding, as Gaudi’s Barcelona beauties amply demonstrate.

My 32nd article was entitled 'This gallery refresh adds drama to the story of art' and explored how rehanging the Sainsbury Wing at the National Gallery revives the emotion of great art.

My 33rd article was an interview with Jonathan A. Anderson about the themes of his latest book 'The Invisibility of Religion in Contemporary Art'.

My 34th article was an interview with 'Emily Young: the sculptor listening as the still stones speak'.

My 35th article was a profile of New York's expressionist devotional artist, 'Genesis Tramaine: the painter whose faces catch the spirit'.

My 36th article was a concert review of Natalie Bergman at Union Chapel - a soul-soaked set turned personal tragedy into communal celebration.

My 37th article was based on the exhibition series 'Can We Stop Killing Each Other?' at the Sainsbury Centre. In it I explore how art, theology, and moral imagination confront our oldest instinct.

My 38th article article was 'The dot and the dash: modern art’s quiet search for deeper meaning' in which I argue that Neo-Impressionism meets mysticism in a quietly radical exhibition at the National Gallery.

My 39th article was 'From Klee to Klein, Wenders to Botticelli: angels unveiled' in which I explore how, across war, wonder and nativity, artists show angels bridging earth and heaven.

My 40th article was 'When Henry Moore’s Madonna shocked Northampton' in which I explore how a modernist mother and child stirred outrage, then lasting wonder.

My 41st article was 'Turner and Constable: storms, salvation and the sublime' in which I discussed how Tate Britain reveals how rival visions shaped art and spirit.

My 42nd article was 'When converts cracked open the culture’s polished surface' in which I explored how faith’s outsiders disrupted the scene with unexpected force.

My 43rd article 'The Magdalene we rarely see' was about the painting 'Magdalene at the Base of the Cross' by Chris Gollon.

My 44th article was 'U2’s music shows surrender can still sound like joy' which explores the spirituality of U2

My 45th article was 'Cathedrals, confessionals, and the strange allure of spiritual fiction' about the return of Susan Howatch.

---------------------------------------------------------------------------------------------------------

St Martin's Voices - I Saw Eternity.

Wednesday, 3 June 2026

HeartEdge: Christ in the Stranger








It was great to be at St Martin in the Bullring today for the latest HeartEdge conference entitled 'Christ in the Stranger' with input from Bishop Guli Francis-Dehqani and Sam Wells. It was also great to catch up with HeartEdge and other friends that I hadn't seen in a long time.

The foundational conviction of HeartEdge is that God gives us everything we need but we need to be willing to receive it in the form in which God sends it. Matthew 25 and Luke 10 show us some of the forms in which God sends it – and both refer explicitly to the stranger. The conference focused on how congregations can most appropriately receive the gifts of God in the stranger and how in particular they may respond to the Christian-influenced voices in this country expressing hostility to migrants today.

The day also included interactive workshops on the HeartEdge 4 Cs. I contributed a workshop on 'Christ in Creatives'. The introduction to this workshop was as follows:

I want to talk today about dialogue with creatives as a means the kind of constructive and respectful relationship that the Church has discovered in the arena of interfaith dialogue. A conversation is only possible when all the conversation partners agree that each can say what they see, with the others listening before discussing synergies and differences. That foundation of respect and attention enables genuinely insightful conversations to occur. That, I think, is the primary aim for churches in engaging with creatives. When churches do this, they discover that conversation connects – with artists, with the Art world, with those who regularly view art and with the casual visitor (by enhancing the depth and variety of their experience in the space).

The artist and theologian Makoto Fujimura has advocated for a spirit of generosity that awaits genesis moments that have generative capacity when engaging with creatives. In describing such approaches, he arrives at the image of an estuary, where salt-water mixes with fresh, in a confluence of river and tidal waters.

An estuary is an environment not of protection but of preparation. Estuaries are a critical nursery area, for example, for young salmon, striped bass, and other fish that come downstream after hatching. Life in semi-protected estuarial wetlands during a critical period in their development readies these fish for life in the ocean. The purpose of estuaries is not so much protection as preparation. Each individual habitat strengthens its participants to interact with the wider environment, making for a diversity that is healthy enough for true competition.

Sam Wells has suggested that Fujimura’s image of an estuary offers a humble but intriguing reassessment of what the church thinks it’s doing when it engages with culture. One might say the church has long assumed it was the sea, to which every river led. Or it might be said to have identified with the pure water of the river, in contrast with the salty water of the sea. But the image of an estuary is helpful for a church regarding itself as a meeting place of human and divine, gospel and culture, timeless truth and embodied experience, word and world.

‘… the metaphor of a transitional place where cross-fertilisation can take place and creativity can thrive amid diverse conversation partners may be apt. Churches work hard to make themselves inspiring locations where people are drawn into a sense of the presence of God; but they can work equally hard to make themselves hospitable locations where people of varied backgrounds may gather in a spirit or mutual appreciation, generous regard and constructive challenge. The two purposes of church need not be mutually exclusive.’

Sam also shows how: ‘Art is a perfect example of how such an estuary space may flourish. A congregation may encourage art on three levels. One is the participatory: a local church may host an artists’ and craftspeoples’ group; it may take participants of all abilities; there’s no reason why it can’t host members of all faiths and none; perhaps each month a member of the group may be invited to exhibit their work in a valued and visible place, and be given the opportunity to write or speak about it.

Another is the aspirational: a competition might be held for an artefact to be placed permanently in the church building, tenders invited, donors sought, publicity encouraged, visitors attracted. Similar approaches might apply for temporary art installations.

A third level is the commercial. A church building might be a suitable venue for a display and sale of artworks; yet another host of new faces drawn in, conversations triggered, relationships made; and the church perhaps taking a 20% cut of all piece sold.

In a short time, a secluded, secretive space may be opened out to become a centre of community activity, energy, and creativity. Much the same principles and categories would apply for choral music or drama or literature. What’s needed is for a church to let go of the need for direct outcomes and linear trajectories and to let the Holy Spirit govern the interactions and catalyse its own surprises.’

This workshop was based on my case study on Churches and Cultural Programming which can be read by clicking here. I will be giving a talk on this topic at St Andrew's Wickford on Friday 17 July at 7.00 pm.

---------------------------------------------------------------------------------------------------------

Lizz Wright - Every Grain Of Sand.


Tuesday, 2 June 2026

St Catherine's Wickford: 150th Anniversary services and events


























We began celebrating the 150th Anniversary of St Catherine's Church in Wickford at the weekend with a fundraising concert by the Ladybirds Song Group at St Andrew's Church. The Ladybirds Song Group are a voluntary community group spreading joy through music, performing in care homes, community centres, and other venues. Our thanks to them for getting our Anniversary celebrations off to such a wonderful start. It was such an enjoyable evening with a great selection of songs performed with all their usual skill and enthusiasm.

We continued our celebrations with a joint service at St Catherine's which brought all our three congregations together. The preacher was former Team Rector, The Ven. David Lowman. The joint Anniversary Service can be viewed by clicking here.

This coming weekend we continue our services and events celebrating the 150th Anniversary of St Catherine's Church.

150th Anniversary events
St Catherine’s Church, Wickford

  • Saturday 6 June, St Catherine’s – Flower Festival with Coffee Morning and Cream Tea Afternoon.
  • Sunday 7 June, 11.00 am, St Catherine’s. Anniversary Eucharist led by Archdeacon of Southend.
  • Saturday 13 June, 2.00 pm, The Rectory – Parish Garden Party.
  • Saturday 20 June, 3.00 pm, St Catherine’s – Rumatica - Fundraising concert.

Flower Festival. 6th & 7th June.
Featuring local clubs. schools & the community.
St Catherine's Church 150 Years.


Donate a pew end in memory of a loved one £10.00.
Saturday all day. Refreshments and stalls in the church hall.
Contact: Caroline: 07821195388.


Rumatica in concert
St Catherine’s Church Wickford
Saturday 20th June 3pm


A Ukulele Band with a Difference! Playing a wide range of Rock, Pop, Country, Swing, Indie, Blues and Folk Music - https://www.rumatica.co.uk/

We are celebrating the 150th Anniversary of St Catherine’s Wickford with a fundraising concert as subsidence has caused cracks in the walls requiring underpinning - a retiring collection will be taken.


Fundraising Campaign
St Catherine’s Church, Wickford


Due to the long dry summer of 2022, the foundations of the NW corner of St Catherine’s Church subsided. This caused large cracks to appear in the walls. In 2023, we completed Phase 1 of our campaign involving safety and weather protection work costing £20,000, with funds raised by donations, events and grants. In 2024 we began Phase 2 involving groundwork investigations and design of an underpinning solution. This cost £13,560 and is essential to design a long-term solution. Phase 3, for which we are now raising funds, will cost £162,500.00 + VAT and will enable the NW corner of the church to be underpinned.

If you wish to contribute, please go to https://givealittle.co/c/CXlEMNUoerIeTUtbQmvYS
to donate online.

Send cheques to Wickford and Runwell PCC to The Rectory, 120 Southend Road, Wickford SS11 8EB or phone 07803 562329/email jonathan.evens@btinternet.com for bank details for a transfer.

-------------------------------------------------------------------------------------------------------

Thanks For The Fellowship.

 

Artlyst: The Art Diary June 2026

My June 2026 Art Diary for Artlyst begins with solo exhibitions or installations by the likes of Sanya Kantarovsky, James Turrell, Lakwena Maciver, and Renaud Muraire, among others, that tap aspects of spirituality. Exhibitions engaging with churches come next, including Manifesta 16 Ruhr. Then I highlight exhibitions by female artists that explore aspects of mysticism, often in the context of particular environments. ‘British Landscapes: A Sense of Place’ at Pallant House explores similar themes in a British context. A series of group shows explores art created within regions that addresses elements of re-visioning history, enduring knowledge and evolving faith. I end with two interesting exhibitions in my local area: Focal Point Gallery and Beecroft Gallery in Southend-on-Sea.

My other pieces for Artlyst are:

Interviews -

Monthly diary articles -
Articles/Reviews -
-------------------------------------------------------------------------------------------------------

Eric Bibb - A Ship Called Love.