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Saturday, 31 January 2026

PARISH STUDY DAY - THE BIG STORY - THE BIBLE IN FIVE ACTS
















Today, in this year's Parish Study Day at St Andrew's Wickford, we explored the amazing story told through the Bible from Creation to Jesus and the early Church and looked into the future and what it means for us.

Our ministry team each spoke on one of the five acts. I had Act 5, the Future, and this is what I shared:

Act 5 is the final act in the play and is based on the hints we receive in the Bible about the future and the end of time. These revolve around three key ideas: Jesus’ vindication; resurrection; and the coming in full of the kingdom of God.

Jesus’ vindication

In Mark 13: 1-8, we read of Jesus and his disciples going to the Temple in Jerusalem. As they were leaving, one of the disciples remarked on what a magnificent building the Temple was. Jesus’ response was to predict that it would shortly be completely and utterly destroyed. The Temple, at that time, was central to the whole Jewish faith. What Jesus was saying was that the whole way in which Judaism was practised at that time was going to be destroyed. A whole way of life wiped out. It was a shocking claim about a major crisis.

Mark records this for us because what Jesus predicted actually happened. In AD70 Titus, the adopted son of the Roman emperor Vespasian, “entered Jerusalem, burnt the Temple, destroyed the city and crucified thousands of Jews” (Wright). For Mark the fulfilment of Jesus’ prophecy, although a disaster for all those caught up in it, was the final vindication of all that Jesus had said and been and done. In that day, he says in verse 26 of this same chapter, men will see the Son of Man coming in clouds with great power and glory. In other words, people will realise that Jesus was who he claimed to be, the Messiah. The destruction of the Temple was proof that Jesus had spoken and acted truly; that he was a true prophet.

Christians over the centuries have often interpreted what Jesus said about the Temple and his vindication as a true prophet in terms of his second coming but New Testament scholar Tom Wright has comprehensively and, in my view, conclusively demonstrated that these passages are best understood in relation to the destruction of the Temple in AD70. Because Jesus is vindicated through these prophecies as being a true prophet, we then know that what he does say about the future can be trusted implicitly.

Resurrection

In John’s Gospel, we explicitly hear Jesus speaking about himself as the resurrection - “I am the resurrection and the life. Whoever believes in me, though he die, yet shall he live” (John 11:25). In John 6:40, Jesus says, “For this is the will of my Father, that everyone who looks on the Son and believes in him should have eternal life, and I will raise him up on the last day” and, in John 14:19, Jesus says to his disciples, “Yet a little while and the world will see me no more, but you will see me. Because I live, you also will live.”

He is able to make these promises because he knows that God will raise him from death on Easter Day. That truth is what his followers come to understand after his resurrection. St Paul writes in 1 Corinthians 15:20, “Christ has been raised from the dead, the first fruits of those who have fallen asleep.” What happened to Christ will also happen to use. He is the firstborn from the dead and we are those who will follow him by also rising from death. In Romans 6:5, Paul writes, “For if we have been united with him in a death like his, we shall certainly be united with him in a resurrection like his” and, in Romans 8:11, “If the Spirit of him who raised Jesus from the dead dwells in you, he who raised Christ Jesus from the dead will also give life to your mortal bodies through his Spirit who dwells in you.” Back in 1 Corinthians, we read in 15:21-22, “For as by a man came death, by a man has come also the resurrection of the dead. For as in Adam all die, so also in Christ shall all be made alive.” In 1 Thessalonians 4:14, we are told that, “For since we believe that Jesus died and rose again, even so, through Jesus, God will bring with him those who have fallen asleep.”

Jesus’s death and resurrection provide the template for our future eternal life, along with the assurance that we will be raised as he was raised. Jesus’ resurrected body differs in some ways from his body prior to death, in that he is not always recognised by those who knew him and he is able to appear and disappear at will. However, there is much continuity too between his resurrected body and his pre-resurrected body. This leads St Paul to state in 1 Corinthians 15.40-44, that:

“There are both heavenly bodies and earthly bodies, but the glory of the heavenly is one thing, and that of the earthly is another. There is one glory of the sun and another glory of the moon and another glory of the stars; indeed, star differs from star in glory.

So it is with the resurrection of the dead. What is sown is perishable; what is raised is imperishable. It is sown in dishonour; it is raised in glory. It is sown in weakness; it is raised in power. It is sown a physical body; it is raised a spiritual body. If there is a physical body, there is also a spiritual body.”
He concludes that we will “bear the image of the one of heaven”, meaning the image of Jesus.
So, the promise that Jesus gives us is of a resurrected future together with him in eternity. But what will that look like?

The kingdom of God

The kingdom of God was the main topic of Jesus’ teaching during his time on earth. Most of his Parables begin, the kingdom of God is like … buried treasure, a pearl of great price, a lost coin, sheep or Son that are found, and so on. Bringing the news that the kingdom of God was coming was the reason for his travels and preaching across Israel during the three years of his ministry. In doing so, he took on the task that God had originally given to the people of Israel, that of being a light to the nations, which is why he proclaimed himself to be the light of the world.

Through Jesus’ life, death and resurrection, the kingdom of God is established in our world for the first time as, for the first time, a human being lives out God’s intent for humanity in full. In Jesus, we see the rule and reign of God in practice, because Jesus is the fullest expression of God that can be revealed in a human being.

As Christians, we are called to follow in Jesus’ footsteps by living under the rule and reign of God. We do this imperfectly, so can, at best, create temporary signs of what the kingdom of God looks like in practice but when we feed the hungry, give water to the thirsty, welcome strangers, clothe the naked, take care of those who are sick, and visit prisoners, we come as close as we possibly can.

However, at an unknown time in the future, God’s kingdom will come in full – as we pray in the Lord’s Prayer – “Your kingdom come, Your will be done, on earth, as it is in heaven”. St Paul writes in 1 Corinthians 15.20-28:

“But in fact Christ has been raised from the dead, the first fruits of those who have died. For since death came through a human, the resurrection of the dead has also come through a human, for as all die in Adam, so all will be made alive in Christ. But each in its own order: Christ the first fruits, then at his coming those who belong to Christ. Then comes the end, when he hands over the kingdom to God the Father, after he has destroyed every ruler and every authority and power. For he must reign until he has put all his enemies under his feet. The last enemy to be destroyed is death. For “God has put all things in subjection under his feet.” But when it says, “All things are put in subjection,” it is plain that this does not include the one who put all things in subjection under him. When all things are subjected to him, then the Son himself will also be subjected to the one who put all things in subjection under him, so that God may be all in all.”

The prophets, including Isaiah and John, the writer of Revelation, give us glimpses of what this peaceable kingdom will look like.

Isaiah speaks, in 9.2,6&7, of a people who walked in darkness seeing a great light:

“For a child has been born for us,
a son given to us;
authority rests upon his shoulders,
and he is named
Wonderful Counsellor, Mighty God,
Everlasting Father, Prince of Peace.
Great will be his authority,
and there shall be endless peace
for the throne of David and his kingdom.
He will establish and uphold it
with justice and with righteousness
from this time onward and forevermore.”

Then, in 11.6-9, he gives a vision of the peaceable kingdom of God, in which as he prophesies in 2.4 this child “shall judge between the nations and shall arbitrate for many peoples; they shall beat their swords into ploughshares and their spears into pruning hooks; nation shall not lift up sword against nation; neither shall they learn war any more”:

“The wolf shall live with the lamb;
the leopard shall lie down with the kid;
the calf and the lion will feed together,
and a little child shall lead them.
The cow and the bear shall graze;
their young shall lie down together;
and the lion shall eat straw like the ox.
The nursing child shall play over the hole of the asp,
and the weaned child shall put its hand on the adder’s den.
They will not hurt or destroy
on all my holy mountain,
for the earth will be full of the knowledge of the Lord
as the waters cover the sea.”

Building on visions like these, John, in Revelation 21, sees earth and heaven united when the kingdom of God comes in full on earth:

Then I saw “a new heaven and a new earth,” for the first heaven and the first earth had passed away, and there was no longer any sea. I saw the Holy City, the new Jerusalem, coming down out of heaven from God, prepared as a bride beautifully dressed for her husband. And I heard a loud voice from the throne saying, “Look! God’s dwelling place is now among the people, and he will dwell with them. They will be his people, and God himself will be with them and be their God. ‘He will wipe every tear from their eyes. There will be no more death’ or mourning or crying or pain, for the old order of things has passed away.”

He who was seated on the throne said, “I am making everything new!” Then he said, “Write this down, for these words are trustworthy and true.”

This is the culmination of the story that is told in and through the Bible. It is the vision towards which everything points. It is a vision of heaven come on earth, of eternal peace in the presence of God, where evil is eradicated and God’s rule encompassing all things, and where we are resurrected to be with God, with each other and with creation for ever.

Living God’s future now

Our calling in the present is to creating signs of this coming kingdom by living as fully as we can in anticipation of the coming kingdom. That is why we emphasise Being With as a key theme or idea for our Parish and our lives. In the coming kingdom, there will be nothing for us to fix, there will simply be being with God, with each other and with creation. Each of these will involve endless exploration because, in God, there is always more to discover.

Wonderings

I wonder what excites you about this vision of the future.
I wonder what questions it raises for you about the future.
I wonder how you think we can best live God’s future now.

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Leonard Cohen - Going Home. 

Friday, 30 January 2026

Visit: Fr Spencer Reece







8 – 12 April, Parish of Wickford and Runwell

Fr Spencer Reece is Rector of St Paul’s Episcopal Church in Wickford, Rhode Island, and an internationally acclaimed poet. His project teaching poetry to abandoned girls at the Our Little Roses orphanage in San Pedro Sula, Honduras, was made into an award-winning film, Voices Beyond the Wall: 12 Love Poems from the Murder Capital of the World. His dream, prayer, and ultimate goal for his time with St. Paul’s Church is to continue the ongoing work of the parish in spreading Jesus’ radical love. “Let kindness be our legacy,” he has said.

Meet Fr Spencer at:
  • 8 April – Midweek Eucharist, 10.30 am, St Andrew’s Wickford
  • 8 April – Bread for the World Service, 6.30 pm, St Martin-in-the-Fields, London (Fr Spencer will share a reflection on the road to Emmaus)
  • 9 April – ‘The Broken Altar’, a talk on George Herbert, 7.00 pm, St Andrew’s Lower Bemerton (Fr Spencer is giving this talk at the invitation of the George Herbert in Bemerton group - https://www.georgeherbert.org.uk/about/ghb_group.html)
  • 10 April – Unveiled: Poetry Reading, 7.00 pm, St Andrew’s Wickford
  • 11 April – Quiet Day: Poetry & Prayer, 10.30 am - 3.30 pm, St Mary’s Runwell (Fr Spencer will share poems and reflections on George Herbert)
  • 12 April – Eucharist, 9.30 am, St Mary’s Runwell and Eucharist, 11.00 am, St Catherine’s Wickford (Fr Spencer will preach at both of these services); 4.00 pm, Showing of Voices Beyond the Wall, St Andrew’s Wickford

SPENCER REECE, 36th rector of St. Paul's Wickford, Rhode Island, is a Guggenheim Fellow and Whiting Fellow.  Reece’s first book, The Clerk’s Tale, was selected for the Bakeless Prize by Nobel Laureate Louise Glück.  Reece was ordained in Madrid, Spain, in 2011. Awarded a Fulbright, he taught poetry at Our Little Roses in San Pedro, Honduras, where he lived with the rescued girls at the home.  The work was made into an award-winning film, Voices Beyond the Wall: 12 Love Poems from the Murder Capital of the World.  The poems by the girls were made into an anthology edited by Reece, entitled Counting Time Like People Count Stars.  In 2014 he published The Road to Emmaus which was a longlist nominee for the National Book Award and short-listed for the Griffin Prize.  He moved to Madrid and assisted the Episcopal Bishop of Spain for a decade. During this time, he created The Unamuno Author Series, culminating in the first-ever anglophone literary festival in Madrid in 2019.  In 2022, he published The Secret Gospel of Mark: A Poet’s Memoir and All The Beauty Still Left: A Poets’ Painted Book of HoursActs, a third book of poems, appeared in 2024.  At St. Paul’s, he created the 14 Gold Street Author Series.  In 2025, he was awarded the John Updike Award from the American Academy of Arts and Letters for the “elegant standards” of his contribution to the literary arts.  Farewell Symphony his fourth collection of poems will be published in 2028.  In 2034, Love IV:  Collected Poems is scheduled to appear.


http://wickfordandrunwellparish.org.uk/
https://www.stpaulswickford.org/
https://www.spencerreece.org/

Click here for my interview with Spencer Reece for International Times and here for my review of Acts.

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George Herbert - The Call.

Church Times: Art review: George Blacklock: Alchemy (Flowers Gallery, London W1)

My latest exhibition review for Church Times is on 'George Blacklock: Alchemy' at Flowers Gallery:

'Blacklock has a lexicon of gestural motifs, which he brings into play, one with the other, on the canvas. Ellipses equate to figures, one responding to another to introduce a sense of narrative into the dynamics of the image. In these images, which find their inspiration in alchemy and the work of alchemists and magicians, Blacklock’s circles equate to the fizzing and whirring of ideas in creative space as these set off mini-explosions in the minds of creatives. Where thinned paint drips from these circles, a sense of frustration or weeping is evoked. The colouration of these works also relates to times of day — morning, evening, sunset, night — to add to the sense of time passing and different relationships occurring within times and spaces.

Although there is nothing overt about particular religious narratives in his work, as he has an open attitude to where the painting comes from, he notes, nevertheless, that the “studio narrative” of his “Magician’s Garden” series “definitely has the Garden at Gethsemane within it”, and the “weeping shapes” definitely have Donatello’s Mary Magdalene within his obsession with them.'

Other of my pieces for Church Times can be found here. My writing for ArtWay can be found here. My pieces for Artlyst are here, those for Seen & Unseen are here, and those for Art+Christianity are here.

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Sunny Day Real Estate - The Rising Tide.

Wednesday, 28 January 2026

150th Anniversary of St Catherine's Wickford




150th Anniversary events
St Catherine’s Church, Wickford

  • Saturday 30 May, 7.30 pm, St Andrew’s Church – Ladybirds Song Group – Fundraising concert for St Catherine’s.
  • Sunday 31 May, 10.30 am, St Catherine’s – Joint Eucharist for 150th Anniversary. Preacher: The Ven. David Lowman.
  • 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.
The Ladybirds Song Group are a voluntary community group spreading joy through music, performing in care homes, clubs, and other local venues.

Rumatica are a Ukulele Band with a Difference! Playing a wide range of Rock, Pop, Country, Swing, Indie, Blues and Folk Music.


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 be when the church is underpinned.

If you wish to contribute, please use the QR Code on the flyer above or 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.

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Sunday, 25 January 2026

The time is now

Here's the sermon that I shared at St Catherine's Wickford this evening:

The famous passage from Ecclesiastes that we have just heard read (Ecclesiastes 3. 1 - 15) is often understood as meaning that God orders our time and allots particular events to particular times and seasons. However, it can also be understood in terms of one of those phrases like ‘stuff happens’, ‘life happens’ which mean simply that what happens happens. The reality it says is that all our lives will contain enough time for births and deaths, tears and laughter, mourning and dancing, conflict and peace to occur. There is time enough in each of our lifetimes for all these things and it is inevitable that we will experience them.

While it is inevitable that the highs and lows of life will occur over the course of our lives, we don’t know when these things will occur or how long our lives themselves will be, and so inevitability is combined with uncertainty. We often respond to this by trying to impose order either by detailed planning on our own part or by asking that God will order our days. When we do so, we can end up preoccupied with the future, instead of experiencing the present.

As we don’t know how much time we have, it is imperative that we must use the time we currently have wisely. We do so by savouring and appreciating the time we have whether that is: time at home - growing together as a family; time at work – completing tasks and supporting colleagues; time at church - in worship, fellowship and prayer; or time alone with God - praying and reading the Bible.

Van Morrison sings that ‘These are the days, the time is now … There's only here, there's only now.’ Similarly, Simon Small has written, ‘There is always only now. It is the only place that God can be found.’ Each moment we are alive is unique and unrepeatable. As singer-songwriter, Victoria Williams, has put it, ‘This moment will never come again / I know it because it has never been before.’ We live in the present and can only encounter God in this moment, in the here and now, today.

We can only live in the here and now. In Deuteronomy 30. 11 - 20 we read of Moses saying to the Israelites, “today … I have set before you life and death, blessings and curses” and exhorting them to “choose life.” Similarly, in Hebrews 3. 7 - 19, the writer of that letter says, ‘Today, if you hear his [God’s] voice, do not harden your hearts …’ The emphasis of these passages is that now is the moment to encounter God, now is the moment to live.

Ecclesiastes 3.1-11 tells us that there is time, if we use the time that is available to us. All too often we do not take the time we have to be with those that are important to us. All too often we distract ourselves with unimportant tasks and fail to do the things that are truly of importance to us. Ecclesiastes 3.1-11 encourages us to use the time that we have. So, as we often pray during funerals, grant us, Lord, the wisdom and the grace to use aright the time that is left to us on earth. Let us use that time to know others more completely, appreciate them more fully, love them more deeply, and, in that knowing, know ourselves more intimately. For to know and appreciate and love and enjoy each other in that way is heaven.

How much time have we got? We don’t know, so we must use it all wisely. The past is behind us, the future is yet to come, so now is the only moment in which we can live and move and have our being. This means that now is always the moment in which to encounter God, now is always the moment in which to truly come alive and truly live, now is always the moment in which we can give of ourselves in thanks for all that God has given to us. There's only here, there's only now. This moment is unique and unrepeatable. It will never come again because it has never been before. So, these are the days for encounter, for living and loving and for giving. The time is now.

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Van Morrison - These Are The Days.

Saturday, 24 January 2026

Windows on the world (555)


London, 2026

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Lenny Kravitz - Spirit In My Heart.

Friday, 23 January 2026

Unveiled: Writing on the Arts


This evening's Unveiled at St Andrew's Wickford was an illustrated talk reflecting on my experiences of writing on the Arts for publications including Artlyst, ArtWay, Church Times, International Times, Seen and Unseen and Stride Magazine, among others:

My writings on the Arts and other topics have been published in the following: AM, Artlyst, ARTS, ArtWay, Art & Christianity, ArtServe, Church Times, Epiphany, Faith in Business Quarterly, Franciscan, Image Journal, International Times, Muslim Weekly, National Church Trust, New Start, Seen and Unseen, Strait, Stride Magazine and the Visual Commentary on Scripture.

My writings on the Arts were first published in 1984 in ‘Strait’, the Greenbelt Newspaper. The Greenbelt Festival began in 1974 with holistic take – ‘Bible in one hand and newspaper in the other’ – and the belief that all artistic expression and endeavour was God-given. ‘Strait’, which has been described as Greenbelt’s very own quarterly answer to the NME, first appeared in 1981 as the literary wing of the Festival. It sought to assess what was going on in the world, its institutions and our environment from a framework of thinking which is biblical universality.

My contributions to ‘Strait’ included poetry and art, book, drama, film and music reviews. So, all the things that I continue to write about regularly. My contributions were primarily made when the poet Stewart Henderson was Editor and later, through a friend at St Martin-in-the-Fields, I was able to get back in touch with Stewart and thank him for his support of my early writing.

I also had my first article published in ‘Strait’ – a profile of the poet Ted Hughes – and this generated the first public critique I had received. That came from another regular contributor to ‘Strait’, the poet Rupert Loydell. Rupert argued that in writing about Hughes, I had fallen into the trap of expecting secular writers to fit into our patterns of belief. Receiving feedback of your writings and opinions is always useful and Rupert’s critique was a helpful corrective.

At this time, Rupert also published some of my poems in Stride Magazine, a small press publication that he began in 1982. He has therefore edited Stride magazine for over 40 years, and was managing editor of Stride Books for 28 years. He and I have kept in touch over the years. He did a poetry reading at St Stephen Walbrook while I was there. He has also helpfully introduced me to others with whom I have collaborated. I continue to write for Stride and also for International Times, where he is a contributing editor.

I maintained and developed my interest in the Arts but didn’t really get the opportunity to publish writing on the Arts again until I had begun my ordained ministry. In 2002 I had an article published on the spirituality of U2 and this was based on a prize-winning essay that I wrote while training for ordination (read the essay by clicking here - 1, 2, 3, 4, 5, 6, 7). However, in 2006, based on the engagements between art and church that I set up while on my curacy at St Margaret’s in Barking I began writing regularly for both Church Times and Art & Christianity.

My first published piece for Church Times was called ‘Silent Touches of Time’ and was about an art project undertaken by Michael Cousin which led to an exhibition, in St Margaret’s called “Memento”, showing contemporary photographs of Barking set alongside archive photographs and a film, Re:Generation, documenting local people’s memories and views on change. In the article I noted that time had swept away architecture that would once have seemed monolithic and that, in Cousin’s photographs, everything is different. I continue to write regularly for Church Times with the 16 January 2026 edition including both a book review and an exhibition review. Over the years I have also contributed a number of feature articles on art and artists.

My first piece for Art + Christianity was also based on an exhibition linked to St Margaret’s. This exhibition was at the William Morris Gallery in Walthamstow and featured work by George Jack, a craftsperson for Morris & Co, who had undertaken a significant restoration of St Margaret’s. We contributed pieces to the exhibition and the curator gave a talk about George Jack at St Margaret’s. In my review, I reflected on the somewhat stuffy image that the Arts & Crafts movement, of which Jack was part, now has and said that the exhibition revealed the way in which beauty continues to enhance and entrance long after the ephemeral bubbles of contemporary concepts have burst. My most recent piece for Art + Christianity was published last year, an extensive interview with an artist whose work I have long admired, Richard Kenton Webb.

Once re-established as a published writer, I was able to expand the range of publications for which I was able to write. I began to write Visual Meditations for ArtWay. These focus on one specific artwork and exploring artists, art movements, and biblical allusions. Founded in 2009 by Marleen Hengelaar-Rookmaaker, the daughter of the renowned art historian, Hans Rookmaaker, ArtWay publishes materials and resources for scholars, artists, art enthusiasts and congregations concerned about linking art and faith. Hans Rookmaaker and his friend Francis Schaeffer were among the first art historians and theologians that I read who engaged positively with artists and made connections between art and faith. I later met Marleen in Geneva while on an art pilgrimage as part of my sabbatical in 2014 when I visited churches in Belgium, France, Switzerland and the UK that had commissioned contemporary art for spaces. I wrote a series of Church reports for ArtWay based on those visits but now mainly undertake interviews with artists as my ongoing contribution to ArtWay.

I met Paul Robinson, the Editor of Artlyst, through the art critic Edward Lucie-Smith, who wrote regularly for Artlyst at the time. I first encountered Edward as a poet. He was paired with Jack Clemo, a poet that I had read from my teens, in the Penguin Modern Poets series. When I began organising art exhibitions at St Stephen Walbrook in the City of London, I soon met Edward and worked with him on a significant number of the exhibitions we held at St Stephen. Through Edward, I met artists such as Terry Ffyffe, Alexander de Cadenet, Kim Poor and Joe Machine, all of whom exhibited at St Stephen’s. I also met Paul as a result of Edward and he invited me to begin writing for Artlyst. This was my first opportunity to writing for a mainstream Arts outlet, as opposed to church-based outlets, and this offered different opportunities for content and influence.

My first piece for Artlyst, published in 2016, was entitled ‘Was Caravaggio A Good Christian?’ and concluded that: ‘Caravaggio cannot be viewed as a ‘good’ Christian but the idea of ‘good’ Christians is no relevance to a faith built on the need that all have for forgiveness. Christianity is nothing, if not a faith for second chances and new opportunities. Caravaggio’s art remains potent for Christians because of the incarnational basis of its pauperist spirituality. As a result, his life and art is a demonstration of the value to the Church of commissioning art that is both innovative and controversial when those creating such art reveal an understanding of the wellsprings of Christian spirituality and theology.’ The article covered similar ground to my ‘Strait’ article on Ted Hughes but now I was not falling into the trap of expecting artists to fit our patterns of belief. I still write reviews and a monthly diary for Artlyst and have also had the opportunity to interview significant artists including Sean Scully, Michael Petry, Alexander de Cadenet and many others.

My writings for Artlyst led to my being invited to write for Seen and Unseen, a publication from the Centre for Cultural Witness which brings together voices from many mainstream Christian traditions to give new insights on culture, politics, history, spirituality, freedom of belief, philosophy and theology. Writing for Seen and Unseen has enabled a greater breadth to my writing on the Arts as I write on music and literature as well as visual art. I also get more opportunity to reflect spiritually of the artists, musicians and writers about which I write. My latest piece for Seen and Unseen is a reflection on the Christian influences found in the work of John Constable and JMW Turner.

My ongoing contact with Rupert Loydell has led to my writing on poetry and publishing poetry in Stride Magazine and International Times. International Times is the name of various underground newspapers, with the original title founded in London in 1966 and running until October 1973. IT restarted first as an online archive in 2008 and in 2011 relaunched as an online magazine publishing new material. It offers another mainstream context for my writing and also enables me to write across a range of genres.

Finally, primarily through contacts made and enhanced by St Martin-in-the-Fields, I have written a number of online exhibitions for the Visual Commentary on Scripture. The VCS is a freely accessible online publication that provides theological commentary on the Bible in dialogue with works of art. It helps its users to (re)discover the Bible in new ways through the illuminating interaction of artworks, scriptural texts, and commissioned commentaries. The virtual exhibitions of the VCS aim to facilitate new possibilities of seeing and reading so that the biblical text and the selected works of art come alive in new and vivid ways.

Each section of the VCS is a virtual exhibition comprising a biblical passage, three art works, and their associated commentaries. The curators of each exhibition select artworks that they consider will open up the biblical texts for interpretation, and/or offer new perspectives on themes the texts address. The commentaries explain and interpret the relationships between the works of art and the scriptural text. My exhibitions are: 'Back from the Brink' on Daniel 4; 'A Question of Faith' on Hebrews 11; 'Fishers of People' which discusses Matthew 4:12-22 and Mark 1:14-20; 'Before the Deluge' a series of climate-focused commentaries on Genesis 6; and 'Establishing the Heart' which reflects on 1 Thessalonians 2:17–4:12.

What is potentially of more interest that this summary of my career in Arts journalism are some reflections on the reasons why I write as I do.

As I write both for mainstream arts audiences and for people within the Church, I am principally trying to do two things. One is to flag the range of ways in which the Church has engaged constructively with the Arts, particularly in the modern and contemporary period when that has commonly been thought not to be the case. The other is to highlight the extent to which artists continue to engage with religion (and Christianity in particular) and with spirituality more broadly in order show how awareness of their work can broaden and deepen our understandings of faith. While both are of relevance to both audiences, the former is more for my mainstream audience and the latter for my Church-based audience.

The reason why it is necessary to focus on these two themes is that my Church-based audience is often unaware of the wealth and richness of ways in which artists have and are engaging with themes of faith, while my mainstream audience are often coming from a place where art critics and curators dismissed and rejected any exploration of themes relating to faith in the works of artists. For my Church-based audience greater awareness can enrich and deepen their understanding of faith, while for my mainstream audience greater awareness leads to greater understanding of art through gaps in art history and art criticism being filled.

My writings, as with others such as Jonathan A. Anderson, are a response to the reality that, while many modern artists engaged with religion in and through their work, art critics and art historians routinely overlooked or ignored those aspects of the work when writing about it. They did so because of a secularisation agenda that overrode reflection on key elements of the art that artists were creating. This was coupled with a reluctance among many in the Church to engage with the Arts in the modern period because of misperceptions about secular agendas.

In Modern Art and the Life of a Culture, Jonathan A. Anderson, together with William Dyrness, recovered some of the religious influences explored in the work of key modern artists by writing an alternative history of modern art. Following publication, I interviewed Jonathan for Artlyst on the themes of the book. More recently, with The Invisibility of Religion in Contemporary Art, Anderson has addressed the central issue, which is the way in which art critics and historians have written about modern and contemporary art. Again, I have interviewed Jonathan on the themes of his new book, as well as writing a review.

His book, which has been called “a bombshell on the playground of the art historians and art critics”, sets out a compelling case for histories of modern and contemporary art “to be reread and rewritten in ways that understand religion and theology more seriously”. It effectively clears space for and reshapes the basis on which such work can and should be done in future. As a result, the place of religion in contemporary art is no longer strange, as it has a renewed visibility and one that can receive informed attention. My hope is that my writings contribute to that renewed visibility and informed attention.

Contemplation and conversation have become two key themes for understanding engagement between the Arts and spirituality today.

Paying attention is fundamental to the work that artists do, to viewing art and also to contemplative prayer. The artist Grayson Perry told this story in the last of his Reith Lectures: “Recently a friend told me that she was working on an education programme at the Whitechapel Art Gallery and at the beginning of the project she asked the children, she said, “What do you think a contemporary artist does?” And this very precocious child, probably from sort of Muswell Hill or somewhere like that, she put her hand up and she said, “They sit around in Starbucks and eat organic salad.” Now it was probably quite an accurate observation of many fashionable artists in East London, but I thought … you know anyway. So then after this, they spent some time looking at what contemporary artists did. And at the end of the project, she asked them again, “What now do you think an artist does?” And the same child, she said, “They notice things.” And I thought wow, that’s a really short, succinct definition of what an artist does. My job is to notice things that other people don’t notice.”

Noticing things that other people don’t notice; that thought is one area of overlap between the Arts and Christianity because the Bible is full of encouragement to reflect. The words, reflect, consider, ponder, meditate and examine, crop up everywhere. God encourages us to reflect on everything.

In his letter to the Philippians, St Paul encourages to look out for see those things that are true, honourable, just, pure, pleasing, commendable, excellent and worthy of praise (Philippians 4. 8).

Simone Weil said that “Attention, taken to its highest degree, is the same thing as prayer. It presupposes faith and love. Absolutely unmixed attention is prayer.”

As a result, the art historian Daniel Siedell suggests that the Arts can help us with looking and paying attention. He says, “Attending to … details, looking closely, is a useful discipline for us as Christians, who are supposed to see Christ everywhere, especially in the faces of all people. If we dismiss artwork that is strange, unfamiliar, unconventional, if we are inattentive to visual details, how can we be attentive to those around us?”

Problems come, as he notes, when we dismiss what we see or when, as Jesus said, we are people who see but do not perceive, who hear but do not listen (Matthew 13. 12 - 14) instead, as Jesus said, we should give our “entire attention to what God is doing right now …” (Matthew 6. 34 – The Message)

Conversation represents a change from the approach that the Church took at earlier stages in its engagement with art and artists. When the Church was the major patron of artists, it controlled content and imagery wanting art to retell the Bible stories those unable to read. Creative artists at the time found inventive ways to put their own stamp on the work nevertheless. However, contemporary artists are aware of the control that the Church exercised as patron and have no wish to return to that arrangement.

Dialogue, however, is a much more respectful relationship, as the Church has discovered in the arena of interfaith dialogue. The 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. The foundation of respect and attention enables genuinely insightful conversations to occur. That, I think, is the primary aim for churches in hosting exhibitions. 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).

Artist and theologian Makoto Fujimura advocates for a spirit of generosity that awaits genesis moments that have generative capacity. 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. Estuaries’ purpose 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 suggests 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.’

That has been my experience as I have seen artworks speak powerfully and movingly of the Christian faith and therefore inform the spirituality of those who see them. My writing on the Arts seeks to inhabit this liminal estuary-type space and open up conversation and contemplation both for those who read mainstream art criticism and for those reading Church publications.

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Victoria Williams - A Little Bit Of Love