International Times - Politics, peace and the personal

My latest review for International Times is on U2's 'Days of Ash', Mumford and Sons' 'Prizefighter' and Moby's 'Future Quiet':

'U2’s Days of Ash EP, Mumford and Sons’ Prizefighter, and Moby’s Future Quiet were released within days of each other and, in different ways, all evidence a reinvention of sound while also responding to aspects of the challenging time in which we live. In relation to both, each of these releases involves significant levels of collaboration in ways that seek to demonstrate an alternative to the divisive forces that are actively creating conflict.'

I have posted a series on the spirituality of U2 which sets out the main characteristics of their spirituality, examines their roots, makes links between their spirituality and themes in contemporary theology and, considers three reasons why their spirituality has connected with popular culture. It is called 'Tryin' to throw your arms around the world' and can be read by clicking here - 1, 2, 3, 4, 5, 6, 7. See also here. For more of my writing on Mumford and Sons see here, 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: '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 '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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Mumford and Sons - Begin Again.

Windows on the world (561)

 

London, 2026

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Moby - Retreat.

Southwark Cathedral - ‘Magdalene at the Base of the Cross’ by Chris Gollon

‘Magdalene at the Base of the Cross’ by Chris Gollon is being displayed beside the High Altar of Southwark Cathedral for the duration of Lent as both an aid to worship, and to overlap with Women’s History Month in March, in which there will be talks and reflections on the Magdalene.

The painting is on loan from a private collection; but originally formed part of Gollon’s national touring exhibition to English cathedrals ‘Incarnation, Mary and Women from the Bible’ (2014 – 2016), which travelled to the cathedrals of Guildford, Chichester, Durham, Norwich and Hereford, focusing only on women from the Bible.

Tonight there was the screening of ‘CHRIS GOLLON:Life in Paint’ featuring Thurston Moore, Maggi Hambling, Sara Maitland, Eleanor McEvoy and more. Before the screening Canon Kathryn Fleming and Rev’d Dr Julie Gittoes gave short talks on Gollon’s depiction of women from the Bible as part of Women’s History Month. After the screening Tamsin Pickeral, Mark Calderbank and Wilfred Wright spoke about Gollon and his work.

The documentary ‘CHRIS GOLLON: Life in Paint’, recently premiered at the Barbican Centre and in New York. The film explores the artist’s sensitive portrayal of women, his innovative techniques and his pioneering artistic boundary crossing with leading musicians, beginning with his collaboration with Thurston Moore in ‘ROOT’ at the Chisenhale Gallery, alongside Yoko Ono, David Bowie and Gavin Turk.

In the film, Sara Maitland remarks: “I’m an old-style feminist […] trying to bring that sort of feminism into some sort of relationship with the Gospels, and Chris just does it”. Gollon biographer art historian Tamsin Pickeral notes: “ ‘Magdalene at the Base of the Cross’ has an increasing earthiness, seen in her muscly, knotted arms and her workmanlike hands. Clearly this is a woman who has toiled, and yet she is also incredibly beautiful.”

Chris Gollon (1953 -2017) was a London-born artist who exhibited widely in the UK. His work is held in major public collections including the British Museum. Gollon exhibited with Yoko Ono, David Bowie and Gavin Turk in ROOT, an exhibition of contemporary music and art created by Thurston Moore of Sonic Youth (Chisenhale Gallery, 1998). Other boundary crossing collaborations included working with Grammy-nominated classical virtuoso, Yi Yao (2014) and with singer-songwriter Eleanor McEvoy (2015 – 2017). In 2004, Gollon exhibited in St Paul’s Cathedral, with Bill Viola, Maggi Hambling and Tracey Emin in ‘Presence: Images of Christ for the Third Millennium’.

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Eleanor McEvoy - Heaven Help Us.

Nicola Ravenscroft - Honouring NHS Heroes: A Memorial in Bronze

Nic Careem, Project Director of the NHS Covid Memorial Sculpture, writes:

'Some projects carry an emotional weight that transcends mere planning and execution. This is one of them.

As Project Director of the NHS Covid Memorial Sculpture, I have the privilege of working alongside my great friend Dean Russell, former MP and business minister, and chair of the Memorial Committee to bring this tribute to life.

For me this memorial is personal as the NHS saved my life on three occasions.

Our mission has been clear: to create a lasting memorial for the NHS heroes who gave their lives on the frontlines of the pandemic. These were the doctors, nurses, paramedics, carers, and countless others who risked and ultimately sacrificed everything for the wellbeing of others. They deserve to be remembered, not just in words, but in something permanent, something powerful. We are grateful for the editor of the Daily.Express Newspaper Group for his total commitment to the memorial.

We knew this had to be more than just a statue. It had to be a piece of art that speaks to the heart. That’s why we turned to Nicola Ravenscroft, a renowned artist whose ability to translate deep human emotion into bronze is simply remarkable. She has created a stunning 10ft sculpture one that embodies the courage, compassion, and selflessness of those we lost.

Raising the necessary funds to make this vision a reality was no small feat, but it was a labour of love. Thanks to the generosity of supporters who understood the importance of this tribute, we were able to move forward with the commission. And now, after months of dedication, the sculpture is ready finaly to be unveiled.

Fittingly, we have chosen 6th March 2026 for the unveiling on the 6th anniversary of the Pandemic in the specially renamed memorial garden The Royal Free Hospital Hampstead will host this momentous occasion, where families, colleagues, and communities and political notables will come together to reflect, to honour, and to remember.

For me, this is not just a project it’s a promise. A promise that those we lost will never be forgotten. That their bravery will stand tall, immortalized in bronze, a reminder to all of us of the price they paid and the gratitude we owe.

This is for them. And for all of us who will carry their legacy forward.'

The unveiling included speeches from Nic Careem, Dean Russell, Nicola Ravenscroft, Lord John Bird MBE, Lord Rami Ranger, and Fatima Whitbread, among others. Children from local schools read poems written about their Covid lockdown experiences. 

Nicola Ravenscroft: NHS memorial sculpture

A 13ft high sculpture created by sculptor Nicola Ravenscroft was unveiled on Friday 6 March 2026 in the gardens at the Royal Free Hospital in London as a national memorial honouring the NHS and healthcare workers who gave their lives on the covid front line.

Award winning British activist, cultural ambassador, and entrepreneur, Nic Careem, who has overseen the project to commission the sculpture, says:

‘The NHS is often called the jewel in our crown and rightly so. On three separate occasions, it has saved my life. I owe everything to it…

That’s why, together with my dear friend, former Business Minister Dean Russell, we commissioned renowned artist Nicola Ravenscroft to create a lasting tribute. A 13-foot bronze memorial will soon stand on the grounds of a world-famous London hospital.’

Created by renowned artist Nicola Ravenscroft, this striking bronze sculpture stands as a lasting tribute to the courage, compassion, and dedication of NHS staff. The unveiling will be a moment to come together to honour, remember, and reflect on their extraordinary contribution.

‘Breath’, Nicola’s national memorial sculpture, features two children below two tall trees, as she knew that her design must portray the lives that those on the Covid front line sacrificed their futures to save. In the tender symbolism of this sculpture, two trees touch, intricate as one, soaring ancient beyond two young children who sit in simple-dappled shade and light. Like them, in ongoing gratitude and hope, Nicola celebrates the collective sacrifice of NHS and care workers through an image that lives singing into our future; a new life, their new life.

She says:

‘I remember that the first emotion I felt when invited to come up with a concept, was one of deep sadness. I mused on the sacrificial hearts of so many, courageous, innocent, and now silent. I kept returning in my mind to the tomb of the unknown warrior and in fiery gratitude, I knew that I must give LIFE to something that not only honoured those on the front line who sacrificed their futures to save the lives of others, but that simultaneously, and in ongoing gratitude and hope, celebrated this truth. I wanted their collective sacrifice to live singing into our future; a new life, their new life.’

Pamela Burnard, Professor of Arts, Creativities and Educations, University of Cambridge, says:

‘Nicola Ravenscroft’s sculpture commissioned for the national memorial, not only honours the NHS workers who sacrificed their lives on the covid frontline, it embodies and encourages reimagined ways to co-create these ethical and care-ful spaces. Her sculptures embody everyday and lifelong ways in which we can nurture kinship and in doing so creativity becomes a powerful and provocative agent of change.’

Nicola Ravenscroft

"children are the future dream makers and possibility thinkers"

“I believe the children are our future
Teach them well and let them lead the way”

Sculptor Nicola Ravenscroft places the potential of a child’s clarity of vision, at the heart of her work. A graduate of Camberwell School of Art, a songwriter and an art teacher, she has nurtured many young people into celebrating their inherent creativity, courageously embracing their differences, and imaginative, compassionate possibility-thinking beyond boundaries. Her work has been exhibited at locations as diverse as churches and corporate HQs, colleges, galleries and schools, race courses, street parties and summits. These include: St Martin-in-the-Fields; St John’s College, Cambridge; HSBC global headquarters, Canary Wharf; University of Cambridge Primary School; and Talos Art Gallery, Wiltshire, among others. Her sculpture installation ‘With the Heart of a Child’ was part of a project exploring what the arts in transdisciplinary learning spaces can contribute to primary education.

Always allowing space for open contemplation, interpretation and healing, the themes and images of her emotive body of work, which includes: the national memorial sculpture honouring the selfless sacrifice of NHS and care workers on the covid frontline (‘Breath’); EarthAngel sculptures; ‘With the Heart of a Child’ installations; painting and drawing series entitled ‘Among the Words of Trees’, ‘In the Language of Angels’ and ‘The Song of Songs’; and portrait sculptures, including Gandhi, a commission in 2019 for the Romney Marsh Sculpture Park. Her latest project aims to create a fresh new activist perspective on the Anne Frank story.

‘With the Heart of a Child’ is the over-arching and unifying theme for Nicola’s work. ‘With the Heart of a Child’ is about bringing people together. It is about harnessing our individual giftings and identities. It is about a shared conversation, and it is about children leading leaders. Her dream is that this understanding might be the rock on which our children, standing faith-filled and free, together lay a new foundation for peace.

Nicola's EarthAngel sculptures and installations are intended as are messengers of hope and healing, guardians of our earth (www.earthangelsforpeace.com). Accordingly, her EarthAngels are portrayed as naturally open-hearted and wide-eyed hungry for mystery, delight and wonder. Like the NHS memorial sculpture, these have also been seen in health settings, including the Great Ormond Street Institute of Child Health, where Nicola is artist-in-residence. Educational settings have also welcomed these installations and these works also featured in a global research initiative led and conducted by researchers in the Faculty of Education at the University of Cambridge (https://withtheheartofachild.com/cambridge-research/).

Born of an idea that has been beating in the visionary heart of social entrepreneur Nic Careem, Nicola’s latest sculpture project is titled ‘Anne Frank and a Child of Tomorrow’. This fresh new life-size bronze builds on the perceptions of children found in Nicola’s earlier works. It shows us Anne Frank sitting quietly reading her story together with a ‘Child of Tomorrow’, who is reading Anne’s diary, and remembering her experiences. Anne is a child of yesterday who is leading a child of tomorrow.

She writes of the bronze maquette she has created of this sculpture:

‘a living book illustration
that speaks peacefully into the future
with the quiet voice of history
nourishing
our wonder in diversity
our childish delight in imagination
and the healing joy of friendship

Her hope is that ‘from the broken grounds of yesterday grow the seedlings of tomorrow’.

Her work offers still, safe spaces for mediation and meditation, diplomacy and reconciliation, empathy and engagement.

Quotes about Nicola’s work

“In this adult-centric world of complicated international issues, of striving personalities, conflicts, and the apparently unstoppable demise of meaningful, substantive interpersonal communication... it might be easy and perhaps seem an acceptable expedient to overlook the basic need to convey essential themes between generations: our responsibilities as the residents of one single ecosphere, and also the message of how to preserve Life itself. Tangibly, nothing embodies Life and our interconnectedness better than the Earth’s one universal solvent: water. That is the essential message, to all children.

Nicola Ravenscroft's works value the awareness by children with regard to what is universal and therefore truly important. This artistic and educational effort deserves to be shared as a uniting message to the next generations, in all the countries we have created but more importantly for all the children of Earth.”

Peter Carlson, Washington, D.C

“… a sculpture installation which embodies a powerful set of values and a message central to solving the pressing planetary problems shared as a global community.

This installation creates an expressive form that enables the global community to secure an empathic participation in the lives of others and in their settings.”

Pamela Burnard, Professor of Arts, Creativities & Education, University of Cambridge

“'With the Heart of a Child’ touches at the core anticipation and hopeful dreaming that springs from childhood. With the intention to connect us all in deeply reflecting about our purpose, our hopes and the possibilities that arise when humanity works for the betterment of all, the children and penguin invite new possibility thinking. Through the organic sculptures, questions about childhood, the future and our collective responsibility are provoked: open-ended responses are encouraged so that together there is opportunity to make a difference.”

James Biddulph, Headteacher, University of Cambridge Primary School

“Nicola Ravenscroft’s extraordinary sculptures stand as symbols of human hope, grace and defiance in the face of climate change. By being cast in bronze, they symbolise our resilience in the face of all that the winds can throw at us. By being cast as children, they mirror our fragility amid the havoc we wreak on the world, and on all that sustains us.”

Martin Wright @MartinFutures

Contact
nicola@nicolaravenscroft.com
www.nicolaravenscroft.com

Details of unveiling

Unveiling of the NHS Memorial Sculpture
Honouring the NHS heroes we lost to Covid‑19

Date: Friday, 6 March 2026
Time: 12 pm – 1 pm
Location: The Gardens, Royal Free Hospital, Pond Street, London NW3 2QG

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Raphael Ravenscroft - And A Little Child Shall Lead.

Church Times - Art review: Sanctuary by Nicholas Mynheer (Portsmouth Cathedral)

My latest exhibition review for Church Times is on 'Sanctuary' by Nicholas Mynheer at Portmouth Cathedral:

'THE exhibition “Sanctuary” tells a story as it unfolds through paintings and sculptures surrounding the nave of Portsmouth Cathedral. The story that it tells is one that equates the flight into Egypt — which, in the Coptic Orthodox Church’s tradition, involved travel by boat along the Nile — with the experience of contemporary refugees: Mynheer notes that 117 million people in the past ten years have been refugees or internally displaced.'

Other of my reviews and articles relating to migration can be found here, here, here, here, here, here, here, here, here, here, here, here, here, and here. Mynheer is part of a group of artists who create in the tradition of British visionary art, for more on this group see here.

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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U2 - One Life At A Time.

Not for the sake of future prestige and glory

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

In December 2025, the Metropolitan Police announced that membership of the Freemasons or similar organisations would be added to its declarable associations policy. As a result, more than 300 Metropolitan Police officers and staff declared their involvement in the Freemasons or other "hierarchical associations". Applying the policy to Freemasons and similar organisations was challenged in court but the High Court supported the approach taken by the Met to make its vetting processes more transparent.

The Met’s actions reflect a concern that we may live in a world where much business is done through exclusive networks; which could involve spheres of influence such as the so-called ‘Old Boy's Networks’ or specific organisations where opportunities may exist to exercise influence or seek favours. As there can be a lack of full transparency about such networks, rumours abound and there is no simple way to verify the facts of the matter.

Our Gospel story (Matthew 20. 17 - 28) suggests that 'in-crowds' and 'favours' were also a part of thinking and practices in Jesus' time. The mother of James and John asked Jesus for a favour, in the way that it is alleged favours can be granted in certain networks today. She wanted her sons to be privileged over and above the others in the group and used a private conversation to make her request.

What James and John were after was another perennial temptation for us as human beings; the desire for prestige, in this case, the request to sit on the right and left of Jesus in glory. Similarly, it has been suggested that within networks of influence there may be pathways to prestige which are essentially open on the basis of birth, wealth or power.

Jesus calls this whole approach into question with his response to James and John. Today we would characterise what he says in relation to discussions of rights and responsibilities. Jesus says firstly that places of prestige are not available without sacrifice (i.e. no rights without responsibilities), in other words there is no entitlement because of birth, schooling, friendships, networks. What matters in the kingdom of God is service and sacrifice and these not for the sake of future prestige and glory, but for their own sake and for the love of others.

'Whoever wishes to be great among you must be your servant, and whoever wishes to be first among you must be your slave; just as the Son of Man came not to be served but to serve, and to give his life a ransom for many.’

Jesus turns the search for prestige on its head. Instead of the prestige of being first being the goal and the reward, those who are great in the kingdom of God are those who make themselves the least; those who are prepared to serve in same way as Jesus, by laying down their life for others.

James and John say they are prepared to do this but it is ultimately about deeds, not words, and their action in asking their mother to ask for a favour on their behalf clearly shows that they hadn't understood his teaching and practice at this stage in their relationship with him.

Where are we in relation to these issues? Are we chasing after worldly rewards and prestige; seeking it through favours or paying for prestige? Maybe, like James and John, we have brought the values of the world into the kingdom of God and are trying to follow Jesus for some form of personal gain?

Lent is an opportunity for self-reflection on these issues and provides us with the possibility of aligning of thinking, values and deeds with those of Jesus as we become the servants or slaves of others; in order that we serve instead of being served and give our lives for the sake of others.

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Soul Savers - Presence Of God.

Artlyst: Art Diary March 2026

For my March 2026 diary for Artlyst, I begin with several exhibitions and other events to visit this season. Lent is a season when churches often have a significant encounter with art. These include Southwark, Portsmouth and Winchester Cathedrals, St Mary’s Guildford, and Goldsmiths College. Exhibitions exploring the religious inspirations of artists, including Gwen John and Anna Ancher, can also be found at the National Museum Cardiff, Dulwich Picture Gallery, Compton Verney, and Grand Palais, Paris. Architectural inspirations can be found in exhibitions featuring John Piper, Antoni Gaudí, and Sir John Vanbrugh. I end with exhibitions exploring aspects of mental health, ordinary life, and our sources of wisdom at venues including Two Temple Place, Tache, and Centre for Contemporary Arts, Tashkent.

For more on Gwen John see here, here and here, on Sophie Hacker see here and here, on John Piper see here, on Antoni Gaudi see here and here, and on Neil Tye see here.

My other pieces for Artlyst are:

Interviews -

• 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

Monthly diary articles -

• February 2026 Art Diary
• January 2026 Art Diary
• The December Art Diary
• The November Art Diary
• The October Art Diary
• The August/September Art Diary
• The July Art Diary
• The June Art Diary 2025
• The May Art Diary 2025
• The April Art Diary 2025
• The Art Diary March 2025
• The Art Diary February 2025
• The Art Diary January 2025
• The Art Diary December 2024
• The Art Diary November 2024
• The Art Diary October 2024
• The Art Diary September 2024
• The Art Diary August 2024
• The Art Diary July 2024
• The Art Diary June 2024
• The Art Diary May 2024
• The Art Diary April 2024
• The Art Diary March 2024
• The Art Diary February 2024
• The Art Diary January 2024
• The Art Diary December 2023
• The Art Diary November 2023
• The Art Diary October 2023
• The Art Diary September 2023
• Jeremy Deller In Rennes And Brittany Post-Impressionism – August Diary
• The Art Diary July 2023
• The Art Diary June 2023
• The Art Diary May 2023
• The Art Diary April 2023
• The Art Diary March 2023
• The Art Diary February 2023
• Surveying New Exhibitions With A Spiritual Twist January 2023 Art Diary
• Christmas: The Art Of Faith December 2022 Diary
• Soulages And Strange Clay November 2022 Art Diary
• Alexander de Cadenet And Michael Forbes October 2022 Diary
• Spiritual Joseph Beuys Plus More: September Diary
• Holiday Snaps – End Of Summer Art Diary
• Art Search: August 2022 Diary
• Re-imagining Essex July 2022 Diary
• Art Illuminating spirituality June 2022 Diary
• Venice To London May 2022 Diary
• Jacob Epstein, Louis Carreon, Titus Kaphar, Betty Spackman – April 2022 Diary
• Audrey Flack Carlo Crivelli And Robert Indiana – March Diary
• My Art Diary And Other Thoughts February 2022
• And On An Art Note: End Of Year Diary 2021
• International Autumn Art Exhibition Reviews
• And On An Art Note: End Of Year Diary 2021

Articles/Reviews -

• Into Abstraction Meaning Connection And Hope Firstsite
• Nigerian Modernism Explored Tate Modern
• Can We Stop Killing Each Other? – Sainsbury Centre
• Millet Life on the Land National Gallery
• Lubaina Himid With Magda Stawarska Kettle’s Yard
• Arpita Singh Social Observations Serpentine North
• Siena: The Creative Achievement Of Christendom
• An Uncommon Thread Hauser & Wirth Somerset
• Michelangelo Leonardo Raphael At The Royal Academy Review
• Modern Art Oxford Reopens After £2million Redesign
• Leonora Carrington Still Relevant Firstsite Colchester
• Ken Currie, Kehinde Wiley, Susie Hamilton Three Exhibitions About Communities
• The Victorian Radicals And Other Related Exhibitions
• Cedric Morris And Arthur Lett-Haines Gainsborough House
• Lunar Lullabies, David Lock and Concrete Dreams Three Shows To See At Firstsite
• Tate Expressionists Exhibition Reveals Spirituality and Past Gender Disparity
• The Last Caravaggio National Gallery
• Issam Kourbaj Kettle’s Yard And Heong Gallery Cambridge
• Li Yuan-chia And Friends Kettles Yard Cambridge
• Antony Gormley Explores Self Awareness White Cube Bermondsey
• Holbein: Politics Religion And Draughtsmanship – The Queen’s Gallery
• R B Kitaj And Philip Guston: Figurative Painting Celebrated
• Paula Rego And Lord Harries Respond To Art And Religion
• A World In Common: Contemporary African Photography Tate Modern
• Chris Ofili Exploring Sin At Victoria Miro
• Ai Weiwei - The Artist of Resistance - The Design Museum
• Saint Francis of Assisi A Timely Exhibition - National Gallery
• Why Critics Have A Problem With The Pre-Raphaelites?
• Religion and Spirituality in Post Impressionism National Gallery
• Black Artists From The American South Royal Academy
• Donatello: The Divine Fused With The Human V&A
• Lucian Freud And His Circle Surveyed In Two London Exhibitions
• A Question Of Clay: Strange Clay – Hayward Gallery
• William Kentridge: Merging Politics With Aesthetics – RA
• Winslow Homer: Beyond The Sea – National Gallery
• Hidden Depths: The Woman in the Window – Dulwich Picture Gallery
• Heavenly Visions: Churches As Spaces For Contemporary Art
• In The Black Fantastic London’s Best Summer Exhibition
• Hew Locke And The Christian Roots Of Carnival – Tate BritainLes Lalanne, Schütte And Gursky London Spring Exhibition Highlights
• Sensuous Sickert and Philpot Two Major UK Solo Exhibitions
• Raphael The Human And Divine – National Gallery
• Damien Hirst The Visceral Reality Of Death
• Ali Cherri: Artist in Residence National Gallery
• Surrealism Outside The Usual Story – Tate Modern
• Marcus Lyon Creates Fields of Vision At St Martin-in-the-Fields London
• Van Gogh Self Portraits The Infinite And The Ordinary
• Marvellous Icons: The London Jesuit Centre
• Albrecht Dürer Travels Of A Renaissance Artist – National Gallery London
• Diasporan Identities: Life Between Islands Caribbean British Art – Tate Britain
• Isamu Noguchi: Socially Engaged Art – Barbican Centre
• Pablo Bronstein: A This-World Vision Of Hell
• Bosco Sodi: In The Beginning Of Wisdom
• George Condo Lockdown Works Hauser & Wirth
• Theaster Gates Clay As A Profound Metaphor
• Mark Rothko: Mesmerising And Intimate Works On Paper
• Roger Cecil: A Once In A Generation Welsh Painter
• Tino Sehgal: Location, Nature And Pandemic – Blenheim Palace
• Michael Armitage And The Power Of Art – Royal Academy
• Marie Raymond And Post-War Avant Garde Painting In Paris
• Rachel Kneebone: A Complex Tableau Of Organic And Geometric Forms
• Rodin: Suffering And Conflict – Tate Modern
• Barbara Hepworth: Symbols Of Art & Life – Hepworth Wakefield
• 20th Century Women Artists Challenging Conventions In Britain
• Chaiya Art Awards 2021 Gallery OXO
• Marc Chagall’s Exquisite Stained Glass Window Commissions
• George Gittoes Equal parts artist and warrior
• Keith Haring: Personal Spiritual Imagery
• Sean Scully: Philosophical Poetic Pastoral The 12 / Dark Windows
• Arthur Jafa: The Art Of Cutting And Pasting
• Blackpentecostal Breath: Spirit-Led Movement Jumps From Music To Visual Art
• Made in USA Ed Ruscha An American Perspective
• Robert Smithson: The Archetypal Nature Of Things
• If Jesus Is A Man Of Colour Why Did We Make Him Aryan?
• Cosmic Patches And Quilts Five Exhibitions
• Everyday Heroes: Southbank Exhibition Celebrates Low-paid Key Workers
• Entwining Spiritualism And Art – Three Shows
• Of Church And The Visual Arts
• Has The Word Master Reached Its Sell-By Date?
• The People Behind Community Is Kindness Billboard Campaign
• André Daughtry: Art, Rebellion And Racial Justice
• Salisbury Cathedral 800 Years Of Art And Spirit
• Home Alone Together Twenty Five Artists
• Botanical Mind Online: Art, Mysticism and the Cosmic Tree
• Salvador Dalí The Enigma of Faith
• Art And Faith A Time For Seeing
• Andy Warhol: Catholicism His Work, Faith And Legacy
• Kiki Smith: Embodied Art
• Art and Christianity Awards A Positive New Millennium Legacy
• Arnulf Rainer: 90th Birthday Exhibition Celebrated At Albertina Museum
• A Belonging Project And Exiles Loss and Displacement
• Robert Polidori: Fra Angelico Opus Operantis
• Art, Faith, Church Patronage and Modernity
• Contemplating the Spiritual in Contemporary Art
• Mat Collishaw Challenges Faith Perspectives With Ushaw Installation
• Waterloo Festival Launches At St. John’s Waterloo
• John Bellany Alan Davie Spiritual Joy and Magic
• RIFT Unites 17 Art and Science MA Graduates At Central St Martins
• Visionary Cities: Michael Takeo Magruder – British Library
• Van Gogh’s Religious Journey Around London
• William Congdon Holy Sites And The Kettle’s Yard Connection
• Mark Dean Premieres Pastiche Mass At Banqueting Hall Chelsea College of Arts
• John Kirby: The Torment
• Underlying The Civilised Facade
• Curating Spiritual Sensibilities In Changing Times
• Homeless Highlighted: New Beau Exhibition At St Martin-in-the-Fields
• Ken Currie: Protest Defeat And Victory
• Bosco Sodi: A Moment Of Genesis
• Bill Viola And The Art Of Contemplation
• Art In Churches 2018: Spiritual Combinations Explored
• Sister Wendy Beckett – A Reminiscence
• Guido Guidi: Per Strada Flowers Gallery London
• Peter Howson: The play is over – Flowers Gallery
• Camille Henrot: Scientific History And Creation Story Mash Up
• Nicola Green Explores Recent And Contemporary Religious Leaders – St Martin-in-the-Fields
• Art And The Consequences Of War Explored In Two Exhibitions
• Helaine Blumenfeld Translating Her Vision
• Sam Ivin: Physically Scratched Portraits Of Asylum Seekers Exhibited
• Sacred Noise: Explores Religion, Faith And Divinity
• Bill Viola: Quiet Contemplative Video Installation St Cuthbert’s Church Edinburgh
• The ground-breaking work of Sister Corita Kent
• Picasso To Souza: The Crucifixion Imagery Rarely Exhibited
• Michael Takeo Magruder: De / coding the Apocalypse – Panacea Museum
• Giorgio Griffa: The Golden Ratio And Inexplicable Knowledge
• Arabella Dorman Unveils New Installation At St James Church Piccadilly
• Can Art Transform Society?
• Art Awakening Humanity Conference Report
• Central St Martins in the Fields Design Then And Now
• The Sacramental And Liturgical Nature Of Conceptual Art
• Polish Art In Britain: Centenary Marked At London’s Ben Uri Gallery
• Refugee Artists: Learning from The Lives Of Others
• The Religious Impulses Of Robert Rauschenberg
• The Christian Science Connection Within The British Modern Art Movement
• Artists Rebranding The Christmas Tree Tradition
• Art Impacted - A Radical Response To Radicalisation
• The Art of St Martin-in-the-Fields
• Was Caravaggio A Good Christian?

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Robert Plant - Gospel Plough.