Interviews Update

Since my last Interview Update, I have had an interview published by International Times with Jacquiline Creswell, who has worked as a curator with a number of Cathedrals in England and in that time has commissioned, curated and installed more than 80 exhibitions:

'It’s so interesting, as it usually takes about two or three years to do an exhibition, and what’s really amazing and fascinating is how the artist sees their work and themselves differently in that time. Somehow, they’ve actually embraced faith. I don’t necessarily mean in a Christian way but they have a new and different spirituality by that engagement. They talk to the Cathedral’s communities and there’s these backwards and forwards conversations, from which everybody’s learning. Everybody’s getting something from it. It’s bringing light to everybody.'

My reviews of exhibitions curated by Jacquiline Creswell can be read here, here, and here. 

As a result, I am updating this index of interviews. I have carried out a large number of other interviews for Artlyst, ArtWay, Church Times, International Times, Seen and Unseen and Art+Christianity. They provide a wide range of fascinating insights into the approaches and practices of artists, arts professionals, clerics, curators, performers, poets and writers.

They can be found at:

Artlyst

• Michael Petry Discusses In League With Devils with Revd Jonathan Evens
• Sean Scully A Humility Towards Nature
• Winslow Homer: American Passage An Interview With Biographer Bill Cross
• Grayson Perry Tapestries On Show At Salisbury Cathedral
• Sidney Nolan’s Africa: Interview With Andrew Turley
• Ilona Bossanyi: Tate’s Ervin Bossanyi Stained Glass Window Mothballed After 2011 Redevelopment
• Louis Carreon: Sampling Art History
• Modus Operandi - What Makes Successful Public Art: Vivien Lovell Interviewed
• Genesis Tramaine: A Queer Devotional Painter
• Lakwena Maciver: Review-Interview Hastings Contemporary
• Nicola Ravenscroft - Sculpture With A Peaceful Stillness
• Artist Hannah Rose Thomas – Tears of Gold – Interview
• Marcus Lyon: Human Atlas Explorations
• Elizabeth Kwant Interview
• Helaine Blumenfeld: Undulating Structures
• National Gallery Explores ‘Sin’ In New Exhibition – Interview Dr Joost Joustra Curator
• Betty Spackman: Posthumanism Debates
• Christopher Clack: Connecting The Material And Immaterial
• Peter Howson Artlyst Interview
• Marleen Hengelaar-Rookmaaker On The Legacy Of ArtWay
• Alastair Gordon A Testament To His Faith
• Katrina Moss Chaiya Art Awards Interview: Where is God in our 21st century world?
• Apocalypse Now: Michael Takeo Magruder Interviewed
• Jonathan Anderson: Religious Inspirations Behind Modernism
• Caravan – An Interview With Rev Paul Gordon Chandler On Arts Peacebuilding
• Art Awakening Humanity Alexander de Cadenet Interviewed
• Michael Pendry New Installation Lights Up St Martin In The Fields
• Mark Dean Projects Stations of the Cross Videos On Henry Moore Altar

ArtWay

• The things we carry – A collaborative exhibition by Neil Tye
• Painting the Life of Christ – an interview with Francis Hoyland
• “Giving identity to forms” – an interview with Marta Jakobovits
• Jonathan Evens in conversation with Roberta Ahmanson, Siobhán Jolley and Ben Quash
• Interview with Steve Whittle
• Paul Chandler and Brian Whelan: WHITE ROBE: An exhibition celebrating the life of Rev. Dr John Roberts among Native Americans
• TEARS OF GOLD: “The invisible light that radiates from the other” – Jonathan Evens interviews Hannah Rose Thomas
• Stations of the Cross in Hornsea: Jonathan Evens Interviews Artist Matthew Askey
• David Miller - "Form welcomes the formless home"
• Sophie Hacker - The Calling Window
• Peter Koenig interview
• Belinda Scarlett interview

Church Times

• Looking Up by Helaine Blumenfeld
• Proverbs of Micah Purnell, poster painter
• The Calling Window, by Sophie Hacker for Romsey Abbey
• Global Images of Christ: Challenging Perceptions at Chester Cathedral
• Betty Spackman: The art and the conversation

International Times

• 'Learning my language' - Jacquiline Creswell
• Touching the Void – Communicating with a loved one, post-mortem. An interview with Alexander de Cadenet
• Scrappy and unconventional and paradoxical. An interview with Spencer Reece
• Polyphony, poetry and publishing. An interview with Chris Emery
• Jago Cooper: Living art and urgent questions

Seen and Unseen

• Emily Young: the sculptor listening as the still stones speak
• Critics and curators are missing this about contemporary artists: An interview with Jonathan Anderson
• Interview: Alastair Gordon on the artist’s attention
• Art, AI and apocalypse: Michael Takeo Magruder addresses our fears and questions
• Matthew Krishanu: painting childhood
• How to look at our world: Aaron Rosen interview
• The Devil's perspective: Jonathan Evens interviews author Nicholas Papadopulos
• Finding the human amid the wreckage of migration: Shezad Dawood’s multimedia Leviathan exhibition at Salisbury Cathedral
• Charm in tunes on the eastern edge: Musician and priest Rev Simpkins discusses how music is an expression of humanity and his faith

Art+Christianity

• Interview: Richard Kenton Webb by Jonathan Evens
• David Hawkins interviewed by Jonathan Evens

The Big Picture

• Meeting Christ in Sundry Places: Jonathan Evens in conversation with Francis Hoyland

Also see my interviews with artist Henry Shelton here and here and David Hawkins, former Bishop of Barking, here, here and here. I have also published an interview with artist, poet and writer Rupert Loydell, who has also interviewed Nick Battle and Steve Scott.

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Steve Scott - Not A Pretty Picture.

International Times: ‘Learning My Language’

My latest interview for International Times is with Jacquiline Creswell, who has worked as a curator with a number of Cathedrals in England and in that time has commissioned, curated and installed more than 80 exhibitions:

'It’s so interesting, as it usually takes about two or three years to do an exhibition, and what’s really amazing and fascinating is how the artist sees their work and themselves differently in that time. Somehow, they’ve actually embraced faith. I don’t necessarily mean in a Christian way but they have a new and different spirituality by that engagement. They talk to the Cathedral’s communities and there’s these backwards and forwards conversations, from which everybody’s learning. Everybody’s getting something from it. It’s bringing light to everybody.'

My reviews of exhibitions curated by Jacquiline Creswell can be read here, here, and here.

My earlier pieces for IT are: an interview with the artist Alexander de Cadenet; an interview with artist, poet, priest Spencer Reece, an interview with the poet Chris Emery, an interview with Jago Cooper, Director of the the Sainsbury Centre for Visual Arts, a profile of singer-songwriter Bill Fay, plus reviews of:

• Michael Takeo Magruder -Reconstructed Landscape{s}
• The Last Supper: Art, Faith, Sex and Controversy in the 1980s
• In Another World: The Four Seasons of Talk Talk
• Hulda Guzman: Please awake - asked Nature kindly' at Turner Contemporary;
• 'Devotions' by Lucy Caldwell and 'Catholic Modernism and the Irish ‘Avant-Garde’: The Achievement of Brian Coffey, Denis Devlin, and Thomas MacGreevy' by James Matthew Wilson;
• the 'Stations' project from Dunlin Press;
• 'William Blake: The Age of Romantic Fantasy';
• Joseph Arthur in concert;
• installations by Chiharu Shiota and Yin Xiuzhen at Hayward Gsllery,
• U2's 'Days of Ash', Mumford and Sons' 'Prizefighter' and Moby's 'Future Quiet';
• 'Collected Poems' by Kevin Crossley-Holland;
• 'Lux' by Rosalía;
• 'Springsteen: Deliver Me from Nowhere';
• 'Great Art Explained' by James Payne;
• 'Down River: In Search of David Ackles' by Mark Brend;
• 'Headwater' by Rev Simpkins;
• 'The Invisibility of Religion in Contemporary Art' by Jonathan A. Anderson;
• 'Breaking Lines' at the Estorick Collection of Modern Italian Art,
• albums by Deacon Blue, Mumford and Sons, and Andrew Rumsey,
• also by Joy Oladokun and Michael Kiwanaku;
• 'Nolan's Africa' by Andrew Turley;
• Mavis Staples in concert at Union Chapel;
• T Bone Burnett's 'The Other Side' and Peter Case live in Leytonstone;
• Helaine Blumenfeld's 'Together' exhibition,
• 'What Is and Might Be and then Otherwise' by David Miller;
• 'Giacometti in Paris' by Michael Peppiatt,
• the first Pissabed Prophet album; and
• 'Religion and Contemporary Art: A Curious Accord', a book which derives from a 2017 symposium organised by the Association of Scholars of Christianity in the History of Art.

Several of my short stories have been published by IT including three about Nicola Ravenscroft's EarthAngel sculptures (then called mudcubs), which we exhibited at St Andrew's Wickford in 2022. The first story in the series is 'The Mudcubs and the O Zone holes'. The second is 'The Mudcubs and the Clean-Up King', and the third is 'The mudcubs and the Wall'. My other short stories to have been published by International Times are 'The Black Rain', a story about the impact of violence in our media, 'The New Dark Ages', a story about principles and understandings that are gradually fading away from our modern societies, and 'The curious glasses', a story based on the butterfly effect.

IT have also published several of my poems, including 'Spencer Reece at Bemerton' which is based on the visit that I made to Bemerton in 2026 with Spencer Reece, 'The ABC of creativity', which covers attention, beginning and creation, and 'The Edge of Chaos', a state of existence poem. Also published have been three poems from my 'Five Trios' series. 'Barking' is about St Margaret’s Barking and Barking Abbey and draws on my time as a curate at St Margaret's. 'Bradwell' is a celebration of the history of the Chapel of St Peter-on-the-Wall, the Othona Community, and of pilgrimage to those places. Broomfield in Essex became a village of artists following the arrival of Revd John Rutherford in 1930. His daughter, the artist Rosemary Rutherford, also moved with them and made the vicarage a base for her artwork including paintings and stained glass. Then, Gwynneth Holt and Thomas Bayliss Huxley-Jones moved to Broomfield in 1949 where they shared a large studio in their garden and both achieved high personal success. 'Broomfield' reviews their stories, work, legacy and motivations.

To read my poems published by Stride, click here, here, here, here, here, and here. My poems published in Amethyst Review are: 'Runwell', 'Are/Are Not', 'Attend, attend' and 'Maritain, Green, Beckett and Anderson in conversation down through the ages'.

I am among those whose poetry has been included in Thin Places & Sacred Spaces, a recent anthology from Amethyst Press. I also had a poem included in All Shall Be Well: Poems for Julian of Norwich, the first Amethyst Press anthology of new poems.

'Five Trios' is a series of poems on thin places and sacred spaces in the Diocese of Chelmsford. The five poems in the series are:

• 'Barking';
• 'Bradwell';
• 'Broomfield';
• 'Pleshey'; and
• 'Runwell'.

These poems have been published by Amethyst Review and International Times.

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Windows on the world (579)

Dover, 2026

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Nick Battle - All We Have Is Now.

 

St Margaret's Church, Downham

Yesterday, I had the opportunity to visit St Margaret's Downham for the first time. Set on a hill, with great views from its extensive churchyard, the church is dedicated to St Margaret of Antioch - slayer of dragons and patron saint of child bearing. Devotion to this saint became popular between 1200 and 1300 and there are some 80 churches sharing this dedication from that period.

The oldest part of the present building is the redbrick tower that dates from around 1470. The main part of the church, the nave, was rebuilt in the nineteenth century using much of the material from the thirteenth century building. In March 1977 the building was gutted by fire following an arson attack but has been restored with a bright, modern interior and comfortable chairs. New stained glass was commissioned following the fire from Jan Gray (East window and Prebble window) and Valerie Green (Calton window).

One artefact to survive the fire is a carving of St Margaret of Antioch that originally occupied a niche above the porch. This is now in the nave and is probably the work of Gwynneth Holt. Various biographies of Holy mention a work by her at St Margaret's - https://artuk.org/discover/artists/holt-gwynneth-19091995 - and this piece is certainly in her style. 

Holt and her husband, the sculptor Thomas Bayliss Huxley-Jones, lived at Broomfield around the same time as another artist, Rosemary Rutherford, who was the daughter of the Rector at Broomfield Parish Church. All three have work in churches within the Diocese. Holt's limewood rood figures of Christ, the Virgin and St John are at All Saints Stock. My post about Holt's life and work can be read at https://joninbetween.blogspot.com/2024/12/all-saints-stock-harvard-gwynneth-holt.html. Broomfield Parish Church has an exhibition on the work of Rutherford and is preparing a booklet about the work of Holt and Huxley-Jones. My poem 'Broomfield', part of my 'Five Trios' series, reviews their stories, work, legacy and motivations. For more on the artists of Broomfield, all of whom are commemorated there with blue plaques, see here, here, here, here and here.

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Andrew Rumsey - O Lazarus.

The apostle of the resurrection

Here's the reflection I shared during today's midweek Eucharist for St Andrew's Wickford:

Mary Magdalene by Malcolm Guite.

Today is the Feast of St Mary Magdalene. ‘Mary Magdalene is a woman who has been largely defined by the church fathers… as a repentant sinner, and it was assumed those sins were sexual,’ says former New York Poet Laureate Marie Howe, who was raised Catholic. In her book of poems called Magdalene, Howe seeks to re-envision Mary Magdalene for the modern age. ‘Magdalene imagines the biblical figure of Mary Magdalene as a woman who embodies the spiritual and sensual, alive in a contemporary landscape— hailing a cab, raising a child, listening to the news on the radio. Between facing the traumas of her past and navigating daily life, the narrator of Magdalene yearns for the guidance of her spiritual teacher, a Christ figure, whose death she continues to grieve.'

'Just as many women today sit down to practice meditation or to pray, Mary Magdalene sought meaning and understanding by following Jesus as teacher. “She wanted to find metaphysical meaning,” Howe said.'

In one of the poems she has an encounter that takes her to a third place she’ not yet been.

then I was looking at my old friend John—
suddenly I was in and I saw him,
and he (and this was almost unbearable)
he saw me see him,
and I saw him see me.

He said something like, You’re going to be ok now,
Or, It’s been difficult hasn’t it,
but what he said mattered only a little.

We met -- in our mutual gaze --in between
a third place I’d not yet been.

(The Affliction)

Erotic, spirited, and searching for meaning, she becomes a woman striving to be the subject of her own life, fully human and alive to the sacred in the mortal world.

‘The world that would have gone on without me bargained and cluttered and I walked where I wanted, free of the pretense of family now, belonging to no one, back to the place where he’d bent and written in the dust.’

Jim Friedman notes that it was when the sixth-century Pope Gregory the Great conflated Mary Magdalene with the anonymous woman taken in adultery and the weeping sinner whose tears bathed the feet of her Lord, that Mary Magdalene became a compelling archetype for the forgiven sinner.’ ‘Through the long centuries of male-dominated biblical storytelling, the conflated Magdalene figure was typecast as a fallen women tainted by her erotic past’.

Howe says that by being juxtaposed against Mary the mother of Jesus, ‘Magdalene was set up as the repentant sinner (often a prostitute), creating a split that has affected women for generations. This split between the virgin and the whore, the mother and the single woman, the sacred and the sensual, the body and the spirit – established by the patriarchy – has caused so much suffering in women,’ How can this split begin to be healed? Howe has said, perhaps by talking about it – telling stories – stories such as those in Magdalene.

Andrew Nunn, Dean of Southwark Cathedral says that: ‘More has been said about Mary than is probably true. Her story has been mixed up with other stories – of fallen women, of disturbed women, of faithful women, of passionate women, of accused women, of scandalous women – and all rolled into one story. But Jesus met all those women who challenged convention, who dared to speak, who dared to act and he welcomed them, as he welcomes us, with all our contradictions. But what we do know is that of all the people he could have met in the garden by the tomb in the first dawn of Easter Day, it was Mary, and he asked her to be the apostle of his resurrection.

Jim Friedman notes that these days Mary Magdalene ‘is more accurately understood as an important disciple and primary witness to the Resurrection.’ Malcolm Guite writes: ‘Mary, a woman, despised and condemned by the self righteous, but loved by Jesus was chosen by him to be the first witness of the good news of his resurrection, and in her meeting with the love of Christ a graveyard once more became a garden.’

Easter Dawn by Malcolm Guite.

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Malcolm Guite - Easter Dawn.

Judge Not

For today's service in the Parish I have been using an All-age talk on the Parable of the Wheat and Weeds to speak about the dangers of judgementalism. For my All-age talk I added an introductory quiz about our default habits when it comes to how we form opinions about others.

Psychology Today has the following to say about judgementalism: "The more we live in a culture of divisiveness, the more judgmental people become. Being quick to pass judgment on others can harm not only the target but the teller, the very person doing the judging. In addition to creating a cloud of negativity, judgmentalism can lead to conflict and stunt personal growth. With a little conscious effort, it is possible to shift out of a critical mindset."

For our Healing Eucharist this evening, I included, as reflective moments, Al Green's cover of R.E.M.'s 'Everybody Hurts' and Jahlani Pierce's 'Stop Judging Others (You Never Know Their Battles)'.

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Jahlani Pierce's - Stop Judging Others (You Never Know Their Battles).

  

Creation waits for the revealing of the children of God

Here's the sermon that I shared this morning at St Gabriel's Pitsea:

We live in a world that, as St Paul described in Romans 8.12-25, is groaning because of its enslavement to decay and futility. What the Bible describes as the effects of sin impacts the world in terms of: our propensity to engulf the nations of the world in conflict; our greed which leaves some nations and individuals with too much by way of resources and others with too little; and our thirst for energy which has changed the climate in ways that threaten sustainability.

St Paul says that the solution to this is to be found in the reality and realisation that we are children of God. The creation, he writes, ‘waits with eager longing for the revealing of the children of God’ and it is only as the children of God are revealed that ‘the creation itself will be set free from its enslavement to decay and will obtain the freedom of the glory of the children of God’.

This is because we naturally tend, as human beings, toward living life selfishly by putting ourselves first and looking after No. 1. This is what scientists describe when they talk about us having selfish genes which get us ready to live in a world that is about the survival of the fittest.

Jesus shows us a new and different way of being human, however. He gave his life so that everyone who believes in him may not die but have eternal life. Jesus allowed his own life to end so that all people could know what it is like to really live. Not to live in the old, selfish, self-centred way of being human but to live in his new way of being human, loving God with all our being and loving our neighbours as ourselves.

It is this way of life that we enter when we realise we are God’s children and are baptised. When Jesus was baptised (Mark 1.9-15), he saw heaven opening, the Spirit coming down on him like a dove, and he heard a voice from heaven saying, “You are my own dear Son. I am pleased with you.” As he was baptised, he was immediately affirmed as God’s Son.

It is easy for us to think that that only applies to Jesus. That it was a special word spoken by God the Father especially to him and, on one level, no doubt it was. But the Bible makes it quite clear that Jesus came into our world and laid down his life to make us one with God so that, as Christians, we are Jesus’ brothers and sisters, members of the same family – God’s family – and co-heirs with Jesus of everything that he has.

Let’s remind ourselves of what St Paul says about this in Romans 8. 14-17: “Those who are led by God's Spirit are God's children. For the Spirit that God has given you does not make you slaves and cause you to be afraid; instead, the Spirit makes you God's children, and by the Spirit's power we cry out to God, Father! my Father! God's Spirit joins himself to our spirits to declare that we are God's children. Since we are his children, we will possess the blessings he keeps for his people, and we will also possess with Christ what God has kept for him …”

So, baptism is about moving from the old way of being human to Jesus’ new way of being human. It is about dying to the old purely materialistic way of life and taking up the new way of life which Jesus shows to us. We ask those who are baptised to: continue in the apostles’ teaching and fellowship, in the breaking of bread, and in the prayers; persevere in resisting evil, and, whenever we fall into sin, repent and return to the Lord; proclaim by word and example the good news of God in Christ; seek and serve Christ in all people, loving our neighbour as ourself; acknowledge Christ’s authority over human society, by prayer for the world and its leaders, by defending the weak, and by seeking peace and justice; so that Christ may dwell in our hearts through faith, that we may be rooted and grounded in love and bring forth the fruit of the Spirit. We ask this because, as Jesus said, it is by their fruits (their deeds) that true Christians will be known.

When we do these things we begin living the new way of life to which Jesus calls us and we are revealed as the children of God. As we live differently, selflessly, we impact the planet in different ways that are positive, not negative. This is why St Paul says the world is waiting ‘with eager longing for the revealing of the children of God’.

James Thwaites has written about this passage in Romans suggesting that the creation is crying out: ‘for its goodness to be fully realised and fully released. The creation cannot be good apart from the sons and daughters because we alone were given the right to name it; we are the image bearers who were made to speak moral value and divine intent into it. We were created to draw forth the attributes, nature and power of God in all things.’

He writes about the cry of sonship, pointing out that, because Christians have received the Spirit of adoption, they are sons and daughters of God who cry out "Abba, Father". He argues that this identity releases believers from fear and calls them into an eternal inheritance. 

He also notes the cry of creation and suggests that the physical creation is actively crying out for the full realization of its goodness. He argues that humans were made to be image-bearers who bring out the inherent possibilities and divine intent of the world through their everyday work and creativity. This is the task that we all have as human being and the calling on our lives our baptism. 

Then, he writes about the divine purpose in "all things". He looks at the phrase "all things work together for good" as proof of God's intimate involvement in the physical world and God's call for believers to engage with creation to bring it to its fullness. Ultimately, Thwaites uses Romans 8 to argue that followers of Jesus should stop treating the physical world as something to be abandoned. Instead, he believes Christians are tasked with noticing and nurturing God's goodness in their everyday lives and vocations.

This is the purpose for which we were created and for which the creation itself is crying out. Instead of the selfish and wasteful exploitation of creation’s resources – the domination and abuse – which characterises human engagement with the world, we are intended to creatively realise the inherent possibilities, the essential goodness, of creation through our imaginative ability as those who notice and name. We are able to do this because we have left our old, selfish way of life behind and have been adopted by God as his children, becoming brothers and sisters of Jesus, co-heirs with him of all he possesses. This is what we celebrate today and what we are challenged to be and to become as we begin to live the new way of being human that was first shown to us by Jesus Christ. Amen.

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Steve Scott - Different Kind Of Light.