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Wednesday, 25 February 2026

Art Trail: Bishop of Chelmsford's Lent and Holy Week Pilgrimage


This year, Bishop Guli Francis-Dehqani is walking the Barking Area Art Trail for her Lent and Holy Week Pilgrimage. The Pilgrimage is taking place on six days across Lent and Holy Week, starting on 25 February and concluding on 31 March.

This year's Pilgrimage started on Thursday 25 February with a 5 mile walk, starting at St Paul's Stratford and ending at St Bartholomew's East Ham, via St Michael & All Angels' Manor Park and St Barnabas Little Ilford. 

At St Paul's Stratford, the pilgrims are gathered in front of a striking wooden cross and matching altar front from the 1950s (both unattributed). From St Paul's, the pilgrims walked to St Michael and All Angels' Manor Park where they saw a sculpture of St Michael subduing the Devil, by Robert Crutchley, 1990. Onwards they went to St Barnabas Little Ilford to see the 1954 stained glass East Window, which has an image of Christ in Glory at its centre. The final stop of day 1 was St Bartholomew's East Ham. A stone cross (2007) on the exterior angled wall is by Nicholas Mynheer and represents St Bart's diverse congregation and community. They also saw John Bridgeman's sculpture 'The Family' (1983) which is situated on the south exterior wall of St Bartholomew's.

The Lent and Holy Week Pilgrimage resumes in Barking Deanery on 12 March.

The aim of the Barking Area Art Trail was to raise awareness of the rich and diverse range of modern and contemporary arts and crafts from the last 100 years which can be found within churches and, in particular, the 36 churches featured on the Trail. The significant works of art in these churches, taken collectively, represent a major contribution to the legacy of the church as an important commissioner of art.

These include past contributions by significant artists such as Eric Gill, Hans Feibusch, John Hutton and John Piper. In more recent years, churches continued to commission work by many important artists such as Mark Cazalet, Jane Quail and Henry Shelton together with other emerging artists who are now coming to prominence.

Work on the Art Trail was initiated by commission4mission, an arts organisation that encouraged churches to commission contemporary art, with the hope of increasing interest and stimulating engagement with the visual arts in the service of contemporary Christian faith.

A leaflet documenting the Art Trail, which was researched and developed by commission4mission member, artist and Fine Arts lecturer, Mark Lewis, publicised the Trail and provides information about the featured artists and churches. The leaflet included a map showing the churches featured on the Trail together with contact details, so that visits to one or more churches could be planned in advance.

Mark Lewis’ brief was to research commissioned art and craft in the Episcopal Area from the past 100 years. While stained glass is the dominant Ecclesiastical art form, he was also concerned to show a diversity and variety of media and styles within the selections made. He highlighted works such as the significant mosaic by John Piper at St Paul’s Harlow and the striking ‘Spencer-esque’ mural byFyffe Christie at St Margaret’s Standford Rivers. Churches with particularly fine collections of artworks included: St Albans, Romford; St Andrew’s Leytonstone; St Barnabas Walthamstow; St Margaret’s Barking; St Mary’s South Woodford;; and, the church chosen as the location for the launch event, St Paul’s Goodmayes.

The Trail was launched at St Pauls Goodmayes on Thursday 17th February by the Bishops of Chelmsford and Barking. At the launch event, The Rt. Revd. Stephen Cottrell, Bishop of Chelmsford, said: “I do not know what other art form could convey and hold the possibility of converging in so many layers. Not just do the visual arts comment on biblical narrative, but they illuminate it in a way that written or spoken forms cannot, being linear forms. Art opens windows on a set of concepts and ideas and brings them together. These windows offer a fresh perspective onto the faith we share, that other forms simply cannot.”

The Bishop of Barking stated that: “Our inspiration for understanding Christianity comes from the visual arts … The visual arts continue to be an important way of communicating our faith. Words are not enough to express the breadth, depth and height of what we want to communicate. It’s then that the visual arts express what we want to communicate.

God knew that: for centuries he relied on the words of the prophets and then he realized that he needed to send his Son to communicate in ways that words could not, the breadth, depth and height of his love. The word became flesh: the most beautiful living sculpture ever created – Jesus Christ.”

There are many interesting artworks to be found in the Diocese of Chelmsford; a fact I have been involved in highlighting previously through art trails in the Barking Episcopal Area - see here, here, here, here, here, here, here, here, here, and here. Most recently, I have included a listing of artworks to be found in the Basildon Deanery here and the Wickford and Runwell Team Ministry here and here. See also my post about artists in Broomfield - here. On the back of these and other sources of information, here is a partial listing of artists with work which can be found in churches within the Diocese of Chelmsford can be found here.

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Van Morrison - Hymns to the Silence.

Letting go and letting God

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

Steve Turner’s poem ‘History Lesson’ is simple, short and blunt:

History repeats itself.
Has to.
No-one listens.

Why is conflict so much a part of our human existence? Why, despite the devastation and loss of life that we saw in two World Wars, does it still seem that we are so far from the ability to live in peace with one another? I want to suggest a partial answer to us using the story of Jonah (Jonah 3).

The story is both well-known and relatively simple. Jonah is tasked by God with preaching to the Ninevites but instead turns tail and takes a ship heading in the opposite direction. A violent storm leads the sailors to throw Jonah overboard. The storm then calms and Jonah is swallowed by a great fish. Inside the fish Jonah repents and, once spewed out onto dry land, travels to Ninevah where he delivers the message God gave him. The Ninevites hear him, repent and are saved from disaster. Jonah is angry with God because the Ninevites are the enemies of the people of Israel and so he wanted them destroyed.

That hatred of the Ninevites was the reason why Jonah rejected God’s call on his life and took a ship in the opposite direction to the place God had wanted him to go. Protection of his people - the people of Israel - by the destruction of their enemies - the Ninevites - was more important to him than doing God’s will. Jonah was angry with God because he thought God should only be on the side of and care for his people and, therefore, he wanted to try to frustrate God’s plans to save their enemies from disaster. He was angry with God because he wanted to possess God by keeping him only as the personal God of his people.

Jonah had actually completely misunderstood God’s relationship with the people of Israel and the reason for it. The choosing of the people of Israel as God’s chosen people and the gift to them of the promised land was not so that they would be protected by their own personal God in a land that was theirs to own. Instead of being their property, the promised land was a gift from God which enabled them to be a light revealing God to the nations around them. So, whenever they thought about themselves and the protection of their own possessions, they were actually wandering away from God’s will for their lives.

When Jonah did this, his lack of surrender to God’s will and God’s way caused disturbance - the storm - in his life which also affected the people around him. It was only when Jonah recognised that the storm - the disturbance in and around him - was directly connected to his lack of surrender to God’s will that the storm died down and he had time and space in which to repent and return to God’s way.

It is the same for us. When we are concerned with what we think of as ours - when we are saying this is mine, my property, my church, my nation - we are automatically anxious, worried and fearful because we are in defensive mode and we experience disturbance; disturbance which affects others because we are trying to protect what we think of as ours from those we think will take it from us. By contrast, Jesus calls us to give up our lives and let go of our possessions by handing them over to him - to let go and let God. When we genuinely do this, we find we are at peace because whatever we have and wherever we are and whatever we do is then in God’s hands - everything is his and his gift to us. We experience contentment with what we have and where we are and what we do because it is all God’s gift to us.

We read in the Letter to the Philippians, ‘I have learned to be content whatever the circumstances. I know what it is to be in need, and I know what it is to have plenty. I have learned the secret of being content in any and every situation, whether well fed or hungry, whether living in plenty or in want. I can do all this through him who gives me strength.' (Philippians 4.11-13)

Conflict and disturbance arise in our lives and in our world whenever we, like Jonah, have not surrendered to God’s will. Again, like Jonah, this occurs whenever we want to possess or protect things for ourselves, our group or our people. Instead, God calls us to let go and let God; to simply acknowledge that we own nothing, that all is God’s creation and gift. When we let go of our claim on the things around us, including our own lives, we start to genuinely trust God and learn the secret of being content in any and every situation. In this state, there is no disturbance or conflict because there is nothing to possess or protect and, therefore, we can know and share peace with others.

Jesus shows us how to do this by laying down his life for the sake of others and his resurrection reveals the new life that results. Just as he called his first disciples, so he calls us to follow in his footsteps by taking up our cross and losing our lives for his sake; letting go and letting God.

Will we be like Jonah and resist the call of God which leads to turmoil and disturbance in our lives and our world or will we be like Jesus’ disciples who gave up everything to follow him? Before deciding, we should reflect that to follow him is the way that leads to abundant, peaceful, contented and eternal life. It is as we surrender to God and to his will for our lives that we come to know his peace in our lives and are enabled to share that peace with others.

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Moby - Le Vide.

Sunday, 22 February 2026

Windows on the world (559)


 Compton, 2026

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In God, 'You are Enough'

Here's the sermon that I shared at St Andrew's Wickford this morning and will be sharing at St Peter's Nevendon this afternoon:

Sermon:  (10.00am, St Andrew’s, 22/02/26)

Standing proud in the heart of Manchester’s university district on the exterior of St Peter’s House a 22 x 13 foot billboard towered above the streets below giving a refreshingly affirming message to passing students and commuters. It said, ‘You are enough’. It would be easy to assume this is an affirmation of the kind of individualism that says ‘I’m alright, Jack’ as ‘I’m looking after No.1.’ However, as St Peter’s House is the base for the Christian chaplaincy team for the Manchester Universities and the Royal Northern College of Music, that’s unlikely to be the intended message.

The artist who created the piece, Micah Purnell, notes that, ‘Capitalist ideology aims to impart the notion that we are worthy of love and belonging - once we have bought into the product or service. Consumerism wraps things up in neat little packages and sells them as idealised gifts of perfection. Advertising props up this notion with the assumption that we are inadequate - stealing our love of ourselves, and selling it back at a price.’

He goes on to say that Brené Brown, a research Professor at Houston University, has found through extensive quantitative research that the one thing that keeps us from love and belonging is the fear that we are not worthy of love and belonging. She found that those who fully experience joy and live wholeheartedly have four characteristics in common: the courage to accept their imperfection; compassion towards themselves first; the ability to let go of who they should be in order to be who they really are, and to embrace vulnerability and unknowing. His installation, therefore, says, ‘You’re not perfect, you’re never going to be, and that’s the good news.’ You are enough, as you are.

The temptations faced by Jesus in the wilderness (Matthew 4.1-11) were all temptations to see his situation and his trust in God as being insufficient, or ‘not enough.’ His temptations began with the reality of his situation, the fact that he was hungry because of fasting for 40 days. He had not had enough food and the temptation was to say that there was not enough and use his power to create food from nowhere. Jesus responded by saying that the words of God were enough for him. The second temptation was in regard to his mission and his then obscurity. Jesus was on his own in the wilderness and was offered celebrity and fame because his obscurity was clearly not enough to achieve his mission. Jesus’ response was essentially saying that the path he was following was enough. The final temptation was linked but, instead of being focused on fame, was focused on power. Jesus’ mission was to save all humanity and he was offered power over all humanity as a shortcut to success and as recognition of the lack of power he possessed as an insignificant carpenter in a backwater of the mighty Roman Empire. Jesus responded by saying that God’s way was enough for him.

Jesus was tempted on the basis that who he was and what he had were not enough to achieve the mission he had been given. He was tempted to think of himself, his situation and God, in terms of scarcity and deficit. But deficit is not our modus operandi as Christians. We don’t have to look far for a mission statement for the church. Jesus said, ‘I came that they may have life, and have it abundantly’ (John 10.10). Living abundant life; that’s what the Father intends, the Son embodies, the Spirit facilitates. 

Sam Wells, the Vicar of St Martin-in-the-Fields says that, as Christians, we are called to live in such a way that gratefully receives the abundance God is giving us, evidences the transformation from scarcity to abundance to which God is calling us, dwells with God in that abundant life, and shares that abundance far and wide.

Jesus is our model of abundant life; his life, death and resurrection chart the transformation from the scarcity of sin and death to the abundance of healing and resurrection; he longs to bring all humankind into reconciled and flourishing relationship with God, one another, ourselves and all creation.

In the middle of the wilderness where he literally had nothing, Jesus received God’s abundance, the abundant life that would sustain him throughout his journey to the cross, and beyond. Also, his time in the wilderness came immediately after his baptism where God had spoken to him saying ‘You are my own dear Son. With you I am well pleased’. God had essentially said to him then, ‘You are Enough’.

As such, we can defend ourselves against temptation as Jesus did. “As God’s children,” Tom Wright says, “we are entitled to use the same defence” as Jesus himself. “Store scripture in your heart,” he writes, “and know how to use it.” When we do, we are able to see through the temptation to think of all that we have as inadequate and, instead, to view our lives and all that we have as a gift from God knowing that, in him, we are enough.

Lent is commonly thought of as being about those things we give up but Lent is ultimately about our opening up. Opening up our lives to receive more of the abundance and the gifts that God is giving to us. In Lent, we give up some of our usual practices in order to have more time for God and to be with God. More time to open up to him and deepen our relationship with him. That was what Jesus was doing in the wilderness and, like him, we too can discover that, as we receive all that God is giving to us, God is enough, God's abundance is enough, our churches and communities are enough, and we are enough. Amen.

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Mumford and Sons - Begin Again.

Wednesday, 18 February 2026

Chappel Galleries - 'Peter Rodulfo: Waiting for a bite'

 



My latest catalogue essay is for 'Peter Rodulfo: Waiting for a bite' at Chappel Galleries. The exhibition opens on 28 February and runs until 29 March 2026.

Peter Rodulfo was born in Washington D.C, USA, in 1958. His early years were spent in Australia and India before coming to England in the mid sixties. He was educated in Suffolk, before going to study painting at Norwich School of Art 1975 – 1979. Since leaving art school he has exhibited all over the world in both solo, group and open shows. Rodulfo has a prolific output in many different mediums, such as oil paint, watercolour, etching, bronze sculpture and assemblages. His work can be found in both private and public collections.

The alluring mystery of everyday life is contemplated in his work and this exhibition: 

‘Watching and waiting also characterises the work of the artist in creation. Rodulfo writes of casting a line out and waiting for a bite, not knowing which creature will take the bait, because he suspects that something surprising may be lurking under the surface of his image as it emerges and coheres. Through the patient watching and waiting that the artist undertakes for that emergent something in the work, his images entice, tease and challenge us, as viewers, to pay attention to what is revealed through the interplay between the patterns of form and colour within which our interactions in creation and in community occur. The patterns of shadows, reflections, and echoes seen in these works then evoke memories from different times and places in our own lives. Life is an alluring mystery which changes and passes too quickly for us to apprehend fully. Rodulfo’s images still a moment in time, enabling us to stop, wait, and see by paying attention to the emergent something his art has revealed. What will bite, what will surface, what will emerge, what will you notice, as you watch and wait and see?’

See here for information about my catalogue essay on Alan Caine and here for information about an essay on Damien Hirst, originally written to be a catalogue essay.

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Bill Callahan - Stepping Out For Air.

Visual Commentary on Scripture - Lent Stations: Community


For the season of Lent the Visual Commentary on Scripture will share 14 selected artworks and commentaries on the theme of Community, introduced below by VCS Director Ben Quash.

Click below to visit the first Lent Station, titled 'You Shall Eat the Plants of the Field':
Station 1: You Shall Eat the Plants of the Field

Lent Stations: Community

One of the traditional Christian practices in Lent, along with prayer and fasting, is almsgiving. It’s easy to read the giving of alms as a mere financial transaction; more specifically (and worse) to see it as nothing more than rich people patronising poor people with their money. This has also infected some of our reactions to the word ‘charity’. We hear this in the understandable protest: ‘I don’t want your charity!’. Surely justice would be better; a fair chance for all.

But the full sense (often forgotten) of charity has its roots in the Latin word caritas, and this means something to which justice is just as central as mercy. Properly understood, charity means living in love and in right relationship with one’s neighbour. It means being in community. The Lenten practice of almsgiving sits in this wider context of practices that strengthen the bonds of community.

Indeed, in some cultures, the giver of alms is required to deliver their gift upwards into the hand of the recipient—a hand which is held over theirs. This makes the giver humble and dignifies the recipient. It opens a whole new perspective on ‘giving up’ something for Lent!

This year’s VCS Lenten series of artworks and associated commentaries is centred on the theme of community, something as urgently needed as ever in a fractured world.

Anyone subscribed to the VCS 𝐄𝐱𝐡𝐢𝐛𝐢𝐭𝐢𝐨𝐧 𝐨𝐟 𝐭𝐡𝐞 𝗪𝐞𝐞𝐤 will receive Lent emails twice a week, directly to their inbox. Click on the link to sign up now: https://thevcs.org/sign-vcs-emails

My first exhibition for the VCS was 'Back from the Brink' on Daniel 4: 'Immediately the word was fulfilled upon Nebuchadnezzar. He was driven from among men, and ate grass like an ox, and his body was wet with the dew of heaven till his hair grew as long as eagles’ feathers, and his nails were like birds’ claws.' (Daniel 4:33). In the exhibition I explore this chapter with William Blake's 'Nebuchadnezzar', 1795–c.1805, Arthur Boyd's 'Nebuchadnezzar's Dream of the Tree', 1969, and Peter Howson's 'The Third Step', 2001.

My second exhibition was 'A Question of Faith' and explored Hebrews 11 through the paintings of New Zealand artist Colin McCahon. McCahon is widely recognised as New Zealand’s foremost painter. Over 45 years, his work encompassed many themes, subjects and styles, from landscape to figuration to abstraction and an innovative use of painted text. His adaption of aspects of modernist painting to a specific local situation and his intense engagement with spiritual matters, mark him out as a distinctive figure in twentieth-century art.

My third exhibition was 'Fishers of People'. This exhibition uses Damien Hirst's 'Isolated Elements Swimming in the Same Direction for the Purpose of Understanding (Left) and (Right)', John Bellany's 'Kinlochbervie', and Paul Thek's 'Fishman in Excelsis Table' to discuss Matthew 4:12-22 and Mark 1:14-20. These artworks give us what is essentially a collage of the kingdom whereby we are invited to imagine the kingdom of God as a body of water in which Christians are immersed and through which they are raised.

My fourth exhibition was 'Before the Deluge', a series of climate-focused commentaries on Genesis 6 looking at 'The Flood' by Norman Adams, 'Noah in the Ark and a Church' by Albert Herbert, and 'Noah's Ark' by Sadao Watanabe.

My fifth exhibition reflects on 1 Thessalonians 2:17–4:12. It is called 'Establishing the Heart' and includes works of art by Antoine Camilleri, John Reilly and Stanley Spencer. This exhibition explores how pleasing God in our everyday lives - by living quietly, minding our own affairs, and working with our hands - leads us to see life, work and art as prayer.

For more on the artists included in these exhibitions click on the following links: Antoine Camilleri, John Reilly, Stanley Spencer, William Blake, Arthur Boyd, Peter Howson, Colin McCahon, Damien Hirst, John Bellany, and Paul Thek.

The VCS is a freely accessible online publication that provides theological commentary on the Bible in dialogue with works of art. It helps its users to (re)discover the Bible in new ways through the illuminating interaction of artworks, scriptural texts, and commissioned commentaries. The virtual exhibitions of the VCS aim to facilitate new possibilities of seeing and reading so that the biblical text and the selected works of art come alive in new and vivid ways.

Each section of the VCS is a virtual exhibition comprising a biblical passage, three art works, and their associated commentaries. The curators of each exhibition select artworks that they consider will open up the biblical texts for interpretation, and/or offer new perspectives on themes the texts address. The commentaries explain and interpret the relationships between the works of art and the scriptural text.

Find out more about the VCS, its exhibitions and other resources through a short series of HeartEdge workshops introducing the VCS as a whole and exploring particular exhibitions with their curators. These workshops can be viewed here, here, here and here.

The VCS has a daily email exploring the Bible through art. Through concise but vivid day-by-day encounters, Bible and Art Daily will take you on a series of journeys through the world of Scripture and the history of art. The VCS have spent the last year bringing together experts in theology and art history to carefully curate a treasury of week-long series, each exploring a particular theme, an artistic medium, or a biblical character. Find out more and subscribe here.

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Forty Days and Forty Nights.

Tuesday, 17 February 2026

Rev Simpkins in concert



Friday 27 February, 7.30 pm
St Andrew’s Church,
11 London Road,
Wickford SS12 0AN

Suffolk-Essex musician, Rev Simpkins, presents an evening of acoustic music of great imagination and charm.

The Rev will perform songs from his acclaimed folk albums such as ‘Big Sea’ and ‘Saltings’, together with songs from his band album ‘Pissabed Prophet’.

The gig will also feature songs from the Rev’s most recent album ‘Headwater’, a collection of fever dreams and reflections on awe and delirium, recorded in the aftermath of an extreme reaction to immunotherapy treatment for stage 4 cancer. These songs recreate sounds and visions experienced on the hospital ward.

The Rev’s sweeping melodies, rich harmonies, and fascinating lyrics have won him both a cult following and national acclaim.

This is a rare chance to experience the breadth of the Rev’s work in one evening.

"Bizarre Post-Punk mastery...Ludicrously cool" 8/10 Vive le Rock on ‘Pissabed Prophet’

“Headwater takes us into new ruminative territory with its industrial electronic soundscapes and use of drones and silences to bring us into contemplation.” International Times

Part of ‘Unveiled’, the Friday night arts and performance event at St Andrew’s Church.

No ticket required – donations requested on the night.

See my reviews of Pissabed Prophet and Headwater here and here plus my interview with the Rev for Seen and Unseen here.

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Rev Simpkins - Holy Innocent's Day.