Wikio - Top Blogs - Religion and belief

Tuesday, 7 April 2026

‘Light in the Darkness’: An exhibition by Tracey Walker























‘Light in the Darkness’
An exhibition by Tracey Walker
8 April – 17 July 2026
St Andrew’s Church, 11 London Road, Wickford SS12 0AN

View the exhibition and hear Tracey speak about her work at ‘Unveiled’, the arts & performance evening at St Andrew’s Wickford, Friday 24 April, 7.00 pm.

St Andrew’s is usually open: Sat 9am-12.30pm; Sun 9.30am-12 noon; Mon 2-3.45pm; Tue 1-4.30pm; Wed 10am-12 noon; Fri 10am-1pm.
https://wickfordandrunwellparish.org.uk/whats-on.html

Tracey Walker

From a traditional art background, through a long career in commercial art, Tracey now finds freedom in her artistic practice, allowing her to express her joyful, spiritual creativity.

She loves to explore themes of light, faith and hope in her paintings, using colour, form and texture to evoke emotions and create atmospheres, drawing the onlookers into a bright and beautiful world.

She is passionate about encouraging people to explore their own creativity through a variety of art groups and workshops.

A member of Chelsea Arts Club and Artists at the Meadows, she exhibits and sells her work throughout the UK and internationally.

www.tawalker.com
IG: tawalker_art
FB: Tracey Walker Art

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Iain Archer - Lifeboat.

Artlyst: The Art Diary April 2026

Here's my April Art Diary for Artlyst:

The April 2026 Art Diary examines several exhibitions related to spirituality. Kettle’s Yard recently commissioned an essay exploring their collection through the lens of spirituality, while an exhibition at ICA LA is currently examining art as a conduit to the spiritual. Performances and exhibitions involving Maurizio Cattelan, El Greco, William Blake, Henri Matisse and Lillian Delevoryas, among others, explore related themes.

Exhibitions by Mirna Bamieh and Theaster Gates engage with themes of discrimination, while several other exhibitions and a sculpture unveiling explore aspects of our relationship with our environment. These include ‘Gainsborough, Turner and Constable’, a Constable 250 exhibition at Gainsborough’s House that explores the emergence of landscape painting in Britain, led by three of its greatest exponents.

My other pieces for Artlyst are:

Interviews -
Monthly diary articles -
Articles/Reviews -

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Joseph Arthur - The Family.

Sunday, 5 April 2026

Seeing the risen Jesus and crying ‘My Lord and my God!’







Here's the Easter Day sermon I shared at St Mary’s Runwell this morning:

Jesus appeared to many of his disciples after he was raised. Paul gives us a partial list in 1 Corinthians 15.5-8 where he says: ‘… he appeared to Cephas, then to the twelve. Then he appeared to more than five hundred brothers and sisters at one time, most of whom are still alive, though some have died. Then he appeared to James, then to all the apostles. Last of all, as to one untimely born, he appeared also to me.’

The number of people who saw him after his resurrection is important because it confirms the reality of his resurrection; so many people over such a period that they cannot all have been deceived or misled. The number that saw him is also significant because each have different reactions and responses and we may identify with them at different times and stages in our lives.

So, today I want to share four meditations about four of those who saw Jesus and ask you which you identify most with today.

Jesus’ female disciples were the first to realise that he had risen and Mary Magdalene was the first to see him. She was the first to tell the other disciples that he had risen, becoming the apostle to the apostles as she did so. In this meditation, she is repeatedly asked why she weeps and her answers show the change in her understanding as she comes to realise that Jesus is alive and with her.

Mary

Why do you weep?
For the body taken away
For not knowing its location
For the escalation of grief
For the suspension of closure

Why do you weep?
For the frustration of expectations
For the pain of crucifixion
For the victory of might
For the loss of my beloved

Why do you weep?
For the voice that called my name
For the body that I held
For the teacher who still teaches
For the dead man who now lives

Why do you weep?
For the reversal of all my expectations
For the joy of resurrection
For the victory of love
For union with my beloved

Despite his assertions before the event, Peter denied Jesus three times before his crucifixions. When Jesus meets Peter after the resurrection, he walks him through denial to assure him of his forgiveness and to enable him to minister as an apostle.

Peter

The cock crows
and trust fails as you deny
the one that you had sworn
never to leave or forsake

The cock crows
with the falling away of commitment
which tears away, where denied beliefs stuck to you,
the flesh from the bone

The cock crows
And there is nothing except pain
and a cry and a hate, extreme crisis and no belief,
memories and facts and realities of denial.

The question is posed,
“Do you love me?”
and guilt is re-inhabited
in order to be understood and redeemed.

The question is posed,
“Do you love me?”
and the promise of wholeness comes
as the fragments of a shattered psyche are gathered up through self-knowledge.

The question is posed,
“Do you love me?”
Three affirmations countermand three denials
and the guilty party walks free to love and feed God’s flock.

Thomas famously was not there when Jesus first appears to the main group of disciples and says that unless he can place his hands in the nail and spear prints on Jesus’ body he will not believe. However, when Jesus appears to him he proclaims, ‘My Lord and my God!’

Thomas

Unless I see
the scars
of the nails
in his hands
and put my finger
on those scars
and my hand
in his side,
unless I can touch,
unless he is tangible,
unless I have proof,
I will not believe.

If you see
the scars
of the nails
in my hands
and put your finger
on those scars
and your hand
in my side,
if you can touch,
if I am tangible,
if you have proof,
you will not have belief.

Blessed are those
who cannot see
the scars
of the nails
in my hands
and put their fingers
on those scars
and their hands
in my side,
blessed are those who
cannot touch,
who are without
tangible proof,
for they truly believe.

Jesus appeared to Saul on the road to Damascus, when Saul was travelling there to persecute Christians in the Early Church. Paul calls himself ‘the least of the apostles’ as a result, ‘unfit to be called an apostle’ because he ‘persecuted the church of God’. But, he concludes, ‘by the grace of God I am what I am, and his grace toward me has not been in vain’.

Paul

Saul, Saul,
why do you persecute me?

Who are you?

I am those you persecute,
they are my Body,
they are in me
and I am in them.
I am one Body
though made of many parts;
Jews, Gentiles,
men, women,
slaves or free,
all are one in me.

Apostles, prophets,
teachers, miracle workers,
healers, helpers, directors,
speakers in strange tongues;
all are one in me.

Black, white,
young, old,
gay, straight,
disabled, able-bodied
upper class, working class,
all are one in me.

When one part suffers,
all parts suffer;
when one part is persecuted,
all are persecuted.

Saul, Saul,
why do you persecute me?

Who are you?

I am Jesus,
whom you persecute.
Who are you?

I am like one
whose birth was abnormal,
the least of the Apostles,
not even deserving
of that name,
for I persecuted you
by persecuting your people.
I am Paul,
your servant,
your Apostle to the Gentiles,
a part of the Body of Christ.

Which of these apostles do you identify with most today? Mary Magdalene, gradually coming to the understanding that Jesus is with her? Peter receiving forgiveness for earlier denials and assurance for future ministry? Thomas, disbelieving initially but now seeing the truth for himself? Paul, stopped in his tracks and turned around from a persecutor of Christ’s church to becoming its strongest advocate? It doesn’t matter who we identify with or where we are on our journey of faith, all that matters is that like them we see the risen Jesus and, like Thomas, cry ‘My Lord and my God!’ May it be so for each one of us. Amen.

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Saturday, 4 April 2026

Windows on the world (565)


London, 2026

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De'Borah Powell - Never Far.

Spencer Reece and the George Herbert in Bemerton Group








The George Herbert in Bemerton Group’s aims are to: study and celebrate the life and work of George Herbert as priest, writer and distinguished inhabitant of Bemerton; mount events relating to the works of George Herbert and the context in which he lived; and liaise and co-ordinate with other bodies with like interests.

The Group has presented a summer programme of three to five events every year since 2002. Past events include illustrated talks and lectures; poetry readings (often accompanied by live musicians playing music of Herbert's time) and appreciation groups; readings of material about Herbert and his period; and walks in the area with which he would have been familiar.

The first event of 2026 is 'A Broken Altar' (Thursday, 9th April at 7:00 pm, St Andrew's Church, Lower Bemerton) when Fr. Spencer Reece will talk about how George Herbert inspires the work of a published poet.

Fr. Spencer Reece is the Rector of St. Paul's Wickford, Rhode Island. He was ordained in Madrid in 2011 and then spent three years teaching poetry in Honduras. He moved back to Madrid in 2014 and assisted the Episcopal Bishop of Spain for a decade. He has published three books of poems, and in 2025 he was awarded the John Updike Award from the American Academy of Arts. He is a Guggenheim Fellow and Whiting Fellow. 

Spencer's memoir, The Secret Gospel of Mark, is a powerful dynamo of a story that delicately weaves the author's experiences with an appreciation for seven great poets. In speaking to the beauty these poets' works inspire in him, Reece finds the beauty of his own life's journey. In this talk, Spencer will focus on his love of George Herbert, sharing how writing about and to Herbert in the course of preparing his thesis on humility in Herbert became a love letter to the poet. 

Other events include:
  • 'The Temple': End to End, Wednesday, 29th July at 7:00 pm, St Andrew's Church, Lower Bemerton. Dr. Oliver Peel will talk about what may have influenced the sequence of George Herbert's poems. Followed by refreshments in a local garden. 
  • The Parson's Life, Thursday, 11th June at 7:00 pm, St Andrew's Church, Lower Bemerton. Reflecting Herbert's three years in Bemerton. A group presentation with musical interludes from Sami Brown (lute). Followed by refreshments in a local riverside garden.
  • Poetry Appreciation, Tuesday 6th October at 10:00 am, Belvedere House, 64 Lower Road, Lower Bemerton. A small group informal discussion, led by Dr. Beth Dodd.
Visit: Fr Spencer Reece
8 – 12 April, Parish of Wickford and Runwell

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

Read my interview with Fr Spencer here and my review of his latest poetry collection here.

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

Meet Fr Spencer at:

8 April – Midweek Eucharist, 10.30 am, St Andrew’s Wickford

8 April – Bread for the World Service, 6.30 pm, St Martin-in-the-Fields, London (Fr Spencer will share a reflection on the road to Emmaus)

9 April – ‘The Broken Altar’, a talk on George Herbert, 7.00 pm, St Andrew’s Lower Bemerton (Fr Spencer is giving this talk at the invitation of the George Herbert in Bemerton group - https://www.georgeherbert.org.uk/about/ghb_group.html)

10 April – Unveiled: Poetry Reading, 7.00 pm, St Andrew’s Wickford

11 April – Quiet Day: Poetry & Prayer, 10.30 am - 3.30 pm, St Mary’s Runwell (Fr Spencer will share poems and reflections on George Herbert)

12 April – Eucharist, 9.30 am, St Mary’s Runwell and Eucharist, 11.00 am, St Catherine’s Wickford (Fr Spencer will preach at both of these services); 4.00 pm, Showing of Voices Beyond the Wall, St Andrew’s Wickford

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

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U2 - In A Life.

Thursday, 2 April 2026

Seen and Unseen: The Magdalene we rarely see

 


My latest article for Seen and Unseen is about the painting 'Magdalene at the Base of the Cross' by Chris Gollon:

'‘Magdalene at the Base of the Cross’ by Chris Gollon has been displayed beside the High Altar of Southwark Cathedral for the duration of Lent as an aid to worship. This image sees Mary Magdalene stretched out at the foot of the cross. A cropped but wide depiction of the scene, we see only the base of the cross, the ground, and the Magdalene embracing the cross.'

For more on Chris Gollon see here, here, here, and here.

My first article for Seen and Unseen was 'Life is more important than art' which reviews the themes of recent art exhibitions that tackle life’s big questions and the roles creators take.

My second article 'Corinne Bailey Rae’s energised and anguished creative journey' explores inspirations in Detroit, Leeds and Ethiopia for Corinne Bailey Rae’s latest album, Black Rainbows, which is an atlas of capacious faith.

My third article was an interview with musician and priest Rev Simpkins in which we discussed how music is an expression of humanity and his faith.

My fourth article was a guide to the Christmas season’s art, past and present. Traditionally at this time of year “great art comes tumbling through your letterbox” so, in this article, I explore the historic and contemporary art of Christmas.

My fifth article was 'Finding the human amid the wreckage of migration'. In this article I interviewed Shezad Dawood about his multimedia Leviathan exhibition at Salisbury Cathedral where personal objects recovered from ocean depths tell a story of modern and ancient migrations.

My sixth article was 'The visionary artists finding heaven down here' in which I explored a tradition of visionary artists whose works shed light on the material and spiritual worlds.

My seventh article was 'How the incomer’s eye sees identity' in which I explain how curating an exhibition for Ben Uri Online gave me the chance to highlight synergies between ancient texts and current issues.

My eighth article was 'Infernal rebellion and the questions it asks' in which I interview the author Nicholas Papadopulos about his book The Infernal Word: Notes from a Rebel Angel.

My ninth article was 'A day, night and dawn with Nick Cave’s lyrics' in which I review Adam Steiner’s Darker With The Dawn — Nick Cave’s Songs Of Love And Death and explore whether Steiner's rappel into Cave’s art helps us understand its purpose.

My 10th article was 'Theresa Lola's poetical hope' about the death-haunted yet lyrical, joyful and moving poet for a new generation.

My 11th article was 'How to look at our world: Aaron Rosen interview', exploring themes from Rosen's book 'What Would Jesus See: Ways of Looking at a Disorienting World'.

My 12th article was 'Blake, imagination and the insight of God', exploring a new exhibition - 'William Blake's Universe at the Fitzwilliam Museum - which focuses on seekers of spiritual regeneration and national revival.

My 13th article 'Matthew Krishanu: painting childhood' was an interview with Matthew Krishanu on his exhibition 'The Bough Breaks' at Camden Art Centre.

My 14th article was entitled 'Art makes life worth living' and explored why society, and churches, need the Arts.

My 15th article was entitled 'The collective effervescence of sport's congregation' and explored some of the ways in which sport and religion have been intimately entwined throughout history

My 16th article was entitled 'Paradise cottage: Milton reimagin’d' and reviewed the ways in which artist Richard Kenton Webb is conversing with the blind poet in his former home (Milton's Cottage, Chalfont St Giles).

My 17th article was entitled 'Controversial art: how can the critic love their neighbour?'. It makes suggestions of what to do when confronted with contentious culture.

My 18th article was an interview entitled 'Art, AI and apocalypse: Michael Takeo Magruder addresses our fears and questions'. In the interview the digital artist talks about the possibilities and challenges of artificial intelligence.

My 19th article was entitled 'Dark, sweet and subtle: recovered music orientates us'. In the article I highlight alt-folk music seeking inspiration from forgotten hymns.

My 20th article was entitled 'Revisiting Amazing Grace inspires new songs'. In the article I highlight folk musicians capturing both the barbaric and the beautiful in the hymn Amazing Grace and Christianity's entanglement with the transatlantic slave trade more generally.

My 21st article was entitled 'James MacMillan’s music of tranquility and discord'. In the article I noted that the composer’s music contends both the secular and sacred.

My 22nd article was a book review on Nobody's Empire by Stuart Murdoch. 'Nobody's Empire: A Novel is the fictionalised account of how ... Murdoch, lead singer of indie band Belle and Sebastian, transfigured his experience of Myalgic encephalomyelitis/chronic fatigue syndrome (ME) through faith and music.'

My 23rd article was entitled 'Rock ‘n’ roll’s long dance with religion'. The article explores how popular music conjures sacred space.

My 24th article was an interview with Alastair Gordon on the artist’s attention which explores why the overlooked and everyday capture the creative gaze.

My 25th article was about Stanley Spencer’s seen and unseen world and the artist’s child-like sense of wonder as he saw heaven everywhere.

My 26th article was entitled 'The biblical undercurrent that the Bob Dylan biopics missed' and in it I argue that the best of Dylan’s work is a contemporary Pilgrim, Dante or Rimbaud on a compassionate journey.

My 27th article was entitled 'Heading Home: a pilgrimage that breaks out beauty along the way' and focuses on a film called 'Heading Home' which explores how we can learn a new language together as we travel.

My 28th article was entitled 'Annie Caldwell: “My family is my band”' and showcased a force of nature voice that comes from the soul.

My 29th article was entitled 'Why sculpt the face of Christ?' and explored how, in Nic Fiddian Green’s work, we feel pain, strength, fear and wisdom.

My 30th article was entitled 'How Mumford and friends explore life's instability' and explored how Mumford and Sons, together with similar bands, commune on fallibility, fear, grace, and love.

My 31st article was entitled 'The late Pope Francis was right – Antoni Gaudi truly was God’s architect' and explored how sanctity can indeed be found amongst scaffolding, as Gaudi’s Barcelona beauties amply demonstrate.

My 32nd article was entitled 'This gallery refresh adds drama to the story of art' and explored how rehanging the Sainsbury Wing at the National Gallery revives the emotion of great art.

My 33rd article was an interview with Jonathan A. Anderson about the themes of his latest book 'The Invisibility of Religion in Contemporary Art'.

My 34th article was an interview with 'Emily Young: the sculptor listening as the still stones speak'.

My 35th article was a profile of New York's expressionist devotional artist, 'Genesis Tramaine: the painter whose faces catch the spirit'.

My 36th article was a concert review of Natalie Bergman at Union Chapel - a soul-soaked set turned personal tragedy into communal celebration.

My 37th article was based on the exhibition series 'Can We Stop Killing Each Other?' at the Sainsbury Centre. In it I explore how art, theology, and moral imagination confront our oldest instinct.

My 38th article article was 'The dot and the dash: modern art’s quiet search for deeper meaning' in which I argue that Neo-Impressionism meets mysticism in a quietly radical exhibition at the National Gallery.

My 39th article was 'From Klee to Klein, Wenders to Botticelli: angels unveiled' in which I explore how, across war, wonder and nativity, artists show angels bridging earth and heaven.

My 40th article was 'When Henry Moore’s Madonna shocked Northampton' in which I explore how a modernist mother and child stirred outrage, then lasting wonder.

My 41st article was 'Turner and Constable: storms, salvation and the sublime' in which I discussed how Tate Britain reveals how rival visions shaped art and spirit.

My 42nd article was 'When converts cracked open the culture’s polished surface' in which I explored how faith’s outsiders disrupted the scene with unexpected force.

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FIREWALL - Sleaford Mods & Chris Gollon, a unique work of art, music and film (2019)