Wikio - Top Blogs - Religion and belief

Sunday, 8 March 2026

Art History Workshop with Maurizio Galia



Art History Workshop with Maurizio Galia
From the false reality to the objective reality: The rise of Contemporary Arts in the XIX Century
Tuesday 10 March, 3.00 - 5.00 pm St Andrew’s Church (11 London Road, Wickford SS12 0AN)

Maurizio Galia, from Turin, Italy, is a highly versatile art professional who has traversed various creative realms throughout his career. His artistic journey began as an illustrator for advertising, a role that laid the foundation for his future endeavours. Since 1990, he has also shared his extensive knowledge and passion for the fine arts as a dedicated teacher. His teaching experience extends beyond Italy, including a collaboration with a British institute in London in 2019. His commitment to education aligns with his desire to nurture the artistic talents of others.

His workshop will provide a panorama of art movements from the XIX Century to the Present. Discover key artists and art movements from Neo-Classicism to Contemporary art and Jacques Louis David to today’s top names.

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AQUAEL - Altri Tempi (Featuring Federica Gili).

A never ending flow of love from God

Here's the sermon:  (11.00am, 08/03/26, St Catherine’s Wickford)

In baptism we use the symbols of oil, light and water. Here’s a reflection on the significance of these three things.

Oil …
bleeding
from the pressurised
crushed
and wounded
to
free us up
lubricate
our rusting
static lives
and
facilitate
our ever moving
onward
forward
Godward

Light …
revealing our past
lighting our future
shining like a lighthouse
in our storms
burning like a warning beacon
in our wars
warming like the sun
on our journeying
glowing like a fire
through gaps and cracks
in shattered, splintered lives

Water …
cleansing our grubbiness
reviving our tiredness
refreshing our thirstiness
nurturing our liveliness
babbling communication
rippling out our influences

May we -
baptised in water,
anointed by oil,
lit by the Spirit -
live and move freely
like a babbling brook
speaking life
to parched ground
leaping boulders and barriers
sparkling in the ever present
light of the Sun.

The poet Malcolm Guite describes the font as ‘A wide womb floating on the breath of God’ because through baptism God is ‘calling us to the life for which we long, yearning to bring us to our birth again.’ Just as at creation when God’s Spirit or breath moved on the waters, when we are baptised the breath of God is again on the waters. 

Malcolm Guite writes:

Come, dip a scallop shell into the font
For birth and blessings as a child of God.
The living water rises from that fount
Whence all things come, that you may bathe and wade
And find the flow, and learn at last to follow
The course of Love upstream towards your home.
The day is done and all the fields lie fallow
One thing is needful, one voice calls your name.

Take the true compass now, be compassed round
By clouds of witness, chords of love unbound.
Turn to the Son, begin your pilgrimage,
Take time with Him to find your true direction.
He travels with you through this darkened age
And wakes you every day to resurrection.

In this poem Malcolm Guite identifies the living water of which Jesus spoke (John 4. 13 & 14) when he said: ‘Those who drink of the water that I will give them will never be thirsty. The water that I will give will become in them a spring of water gushing up to eternal life’ (John 4. 14) with the love of God seen in Jesus. The water of life of which Jesus spoke is his love filling us and welling up with us in order to overflow to others. Jesus said, ‘Give, and it will be given to you. A good measure, pressed down, shaken together, running over, will be put into your lap; for the measure you give will be the measure you get back’ (Luke 6. 38).

This is how God’s love comes into our lives. We drink in a never ending flow of love from God. It is like a tap which is never turned off and always running. As there is no end to God’s love it can fill us and overflow from us to others. As we give love to others, so we can be filled all over again with God’s love. Giving and receiving in God’s economy are intended to be simultaneous events; as we give out, so we receive more. This is why Paul writes in Ephesians that we should go on being filled with the Spirit (Ephesians 5. 18) by drinking in huge draughts of the Spirit of God.

Sometimes, though, we cut ourselves off from the flow of God’s love. We can do this in at least two ways. Firstly, by our attitudes if we become selfish rather than generous; this is why the Bible gives us so many lists of contrasting behaviour. The fruit of the Spirit is love, joy, peace, forbearance, kindness, goodness, faithfulness, gentleness and self-control, so the reverse is hate, complaint, violence, frustration, meanness, evil, inconstancy, harshness and uncontrolled. Any or all of these will cut off the flow of God’s Spirit in our lives and church. Secondly, we can also cut off the flow of the Spirit by separating ourselves from some of the channels through which God’s love can regularly reach us – such as social action, church fellowship, Bible reading and prayer.

All this means we need to ask ourselves, what if our job as a follower of Jesus is not to try harder or run faster or get up earlier or rev up your emotions? What if God really is at work in every moment; in every place? What our job is to learn simply not do those things that close us off from the Spirit? Instead of needing to do something else, what if it’s actually about how we keep ourselves aware and submitted so that rivers of living water are flowing through our being? Paul puts it like this and, in some way, the spiritual life is that simple. Just don’t quench the Spirit. The Spirit is already at work. He is bigger than you. He is stronger than you. He is more patient than your failures. He is committed to helping you 24/7, so just don’t get in His way. Don’t quench the Spirit. Don’t grieve the Spirit. We are always either opening ourselves up — walking in the Spirit — or quenching the Spirit. (John Ortberg – ‘A river runs through it’, http://www.biblesociety.org.uk/uploads/files/lyfev2/extra_resources/a_river_runs_through_it.pdf)

If we open ourselves up to God, we can have the raw material of Jesus himself – which is love – flowing out of us. His human body and mind and spirit, alive with the Spirit of God, in us and flowing from us (Stephen Verney, ‘Water into Wine’, Fount, 1985). It might sound a bizarre image; to have a river of life flowing out of you, but it is a big deal to God. The image of a river is used about 150 times in scripture, most often as a picture of spiritual life. And there is good reason. Israel is a desert country where rivers mean one thing: life. To desert people, the river is life.

We sometimes sing the opening words of Psalm 42, “As the deer pants for the water, so my soul pants for you, O God.” Next time you sing it, remember that Israel is desert country. The waters are dried up. This deer is going to die if it doesn’t find water — and that’s you and me. That’s every human being.

To be cut off from the Spirit of God means a life of perpetual unsatisfied desires, spiritual dryness, emotional death. Jesus is saying that receiving from God in this way and giving to others in this way is vital to our life and survival because where the river flows, life will flourish but where a river dries up, life does as well. The river is gift, the river is grace, the river is life, the river is love. It is what we need and all we need, so are you getting and giving all you can? Are you open to God or quenching the flow of his Spirit?

Remember, ‘One thing is needful, one voice calls your name.

Take the true compass now, be compassed round
By clouds of witness, chords of love unbound.
Turn to the Son, begin your pilgrimage,
Take time with Him to find your true direction.
He travels with you through this darkened age
And wakes you every day to resurrection.’

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Saturday, 7 March 2026

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 herehere, 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 RosalĂ­a; '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:
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.

Friday, 6 March 2026

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, herehere, here, here, here, here, herehere, here, hereherehere, 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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