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Sunday, 8 November 2026

Hope in a hopeless world

Here's the sermon that I preached this morning at St Mary's Runwell and shared in a pared-down form at the Act of Remebrance held at Wickford War Memorial today:

Jesus told a story about being as ready as we can for the unexpected (Matthew 25.1-13). His story is the set reading for this Remembrance Sunday. His story was about bridesmaids waiting for a bridegroom to light him to the wedding with their lamps. He was later than expected and some had not brought supplies of oil for their lamps. Those without had to go searching for oil and missed out on the wedding as a result. Those who prepared for the unexpected were ready to meet the bridegroom and go into the wedding.

With this story Jesus is asking us prepared we are for the unexpected? The bridesmaids who were prepared had rehearsed possible scenarios and were ready for those. They also had the right attitude, being ready to wait for the bridegroom’s arrival. As a result, they were able to take part in a wonderful celebration of unity and love. With this story, Jesus is also encouraging us to prepare for the unexpected recognising that we live in a world where conflict is regularly experienced at all levels of society.

While we can't prepare for the exact situation we might face, we can prepare for possible scenarios, prepare mentally and emotionally for difficult events, and practice peace ourselves in order to anticipate a peaceful society. That’s essentially what our armed forces regularly do. In peacetime they go on manoeuvres and take part in exercises in order to be ready for the moment when they are called to go to war while also acting as those who maintain the peace by preventing fresh conflict from developing.

That is also what our government has advised households to do to prepare for severe disruption, to stockpile canned food and drinking water, to strengthen our civic resilience and to plan for the possibility of war. It says we should be "alert - not alarmed."

The truth is that there are now more conflicts, more wars, than at any point since the end of the Second World War. The number of countries involved in external conflict has nearly doubled since 2008. The civil war in Sudan, the protracted conflict in Ukraine, and the ongoing conflict between Israel, the United States and Iran have left the world in a more fragile and militarised state than at any point since the cold war ended. The Chief of the Defence Staff, Sir Richard Knighton, said in September that the threat from Russia meant Britain was living through the "most dangerous" period of his 35-year career in the armed forces.

War in which we as a nation are more actively involved is not inevitable, but it is certainly not out of the question. And yet today I want to say something about hope. Now you might say, “Jonathan, there are no signs of hope. In fact it’s all looking pretty hopeless…” (https://www.chelmsford.anglican.org/uploads/files/Transcript_-_Weekly_Sermon_Remembrance.pdf)

Disasters are frequent occurrences in our world, “some natural, many more due to man’s ham-fisted neglect of the planet or our inability to get by without recourse to violence.” “The result is always the need for a new start, and how we respond and rebuild colours an uncertain future more than ever. Yet, for all the carnage and chaos that catastrophes bring, an odd truth is apparent: disasters do give us the chance to shape things differently.”

So, while this day is about honouring the dead who laid down the lives that we might be free, it can also be about our preparation for the future. We draw inspiration from those who have gone before and learn from their experiences in order that can be as ready as we can for what will come in the future and even shape that future. The key lesson to learn from past wars is the fundamental necessity of peace. Jesus taught his followers through his stories to anticipate a future where people come together in love to celebrate unity and he calls us to be those who anticipate and practice that future reality in the here and now.

As the band Widespread Panic once sang, we should go:

Looking for hope in a hopeless world
Try to find love in such hateful times
Try to stay strong but my mind is weak
Looking for hope in a hopeless world

That was what those at the heart of the Allied response in the Second World War did. Even in the darkest moments when the Dunkirk evacuation was needed, they did not give up hope and began planning for D-Day.

Hope is about a vision for a future that is different from the present; one which therefore requires imagination and vision. For Christians that vision is of the kingdom of God; which has begun to be realised but is still to come in its full reality. That is the kind of hope we need today when we think we are living in a hopeless world.

In his Theology of Hope the theologian Jürgen Moltmann argues that “Those who hope in Christ can no longer put up with reality as it is, but begin to suffer under it, to contradict it. Peace with God means conflict with the world, for the goad of the promised future stabs inexorably into the flesh of every unfulfilled present. If we had before our eyes only what we see, then we should cheerfully or reluctantly reconcile ourselves with things as they happen to be. That we do not reconcile ourselves, that there is no pleasant harmony between us and reality, is due to our unquenchable hope. This hope keeps man unreconciled, until the great day of the fulfilment of all the promises of God.

As a result, the Church is intended to be “the source of continual new impulses towards the realization of righteousness, freedom and humanity here in the light of the promised future that is to come.” Our hope should “provide inexhaustible resources for the creative, inventive imagination of love.” It should constantly provoke and produce thinking of an anticipatory kind in love to humanity and the world, “in order to give shape to the newly dawning possibilities in the light of the promised future, in order as far as possible to create here the best that is possible, because what is promised is within the bounds of possibility.”

Today, as we remember the sacrifice of those who gave their lives for our freedom, may we commit ourselves to find and to be hope in a hopeless world. That is how we prepare ourselves for the unexpected, as did the wise bridesmaids in Jesus’ story. Amen.

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Widespread Panic - Hope In A Hopeless World.

Saturday, 7 November 2026

Windows on the world (593)


 Cookham, 2026

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Isobel Gathercole Quartet - Deep Night.

Thursday, 5 November 2026

St Thomas More Catholic Church, East Dulwich, and Newcastle Cathedral














On Tuesday, while in Dulwich to review the Charlie Mackesy exhibition at Dulwich Picture Gallery, I visited St Thomas More Catholic Church in East Dulwich to see their Patrick Pye window. Pye was Ireland’s leading religious artist of the second half of the twentieth century, and in addition to many works on canvas and paper, he created stained glass windows over a period of four decades. I saw several of his works when I visited Dublin in 2024. 

This window is his only overseas window. Pye titled it ‘An apparition of St Columba’ and inscribed it, ‘Presented to this church by the Knights of St Columba 26 XI 70’. (The Knights of St Columba, founded in 1919, is a fraternal organisation affiliated with the Roman Catholic Church in England, Scotland and Wales). ‘The theme of the window is taken from a story in St Adamnan’s ‘Life’. It tells how, every evening, the monks return from the work of the fields. One of the brothers is always struck by a sense of blessedness at the same point on the way home. All the fatigue of the day seems lifted from his shoulders. Then he finds that other monks experience the same sensation. Together they ask the oldest brother and he explains that this is the moment of the evening when St Columba retires to his chapel to pray for them.’ Pye treats all three lights and tracery as a single canvas; at the base the monks are depicted returning from the fields carrying their farming implements while the upper two-thirds is dominated by a patchwork of fields which merge into a dramatic sky. There is a sense of how small and insignificant humans are when compared with the awe-inspiring power of nature.

A few weeks ago I visited Newcastle to review Pre-Raphaelites: Art and Poetry at Laing Gallery. While in Newcastle I also visited the Cathedral which also has some interesting art. An interesting collection begins with a fine 15th century roundel set in the east window of St Margaret’s Chapel. Otherwise the cathedral mainly has late 19th century and 20th century glass. The former includes the east window, 1860, by the hugely successful local studio of William Wailes. The latter includes a fine example of the work of Caroline Townsend, on the theme of northern saints in the north choir aisle, 1907, and an abstract window by Stanley Scott Murray, north transept, 1971. A fine recent addition is the Danish window in the north wall of the chancel by Mike Davis, 2002. It commemorates the lives lost by Danish seamen based on Tyneside. It is a perfect complement to the adjacent window by Leonard Evetts, 1962, where the symbols of the Passion are set in clear glass with strong leadlines.

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Mavis Staples & Jeff Tweedy - You Are Not Alone.

Artlyst: The Art Diary November 2026

Here's my November Art Diary for Artlyst:

'In ‘Women, Art, God’, art historian and priest Ayla Lepine invites us to explore the relationship between faith and imagination. Across centuries, cultures, materials and subjects, women’s stories and works of art provide wisdom about the power of images. In this book, which I am currently reviewing, Lepine, through vibrant conversations about art, life and faith, enables us to glimpse God in the visions of artists including Frida Kahlo, Artemisia Gentileschi and Sonia Boyce. Women’s art and spirituality guide readers across centuries and continents, encouraging us to take religion’s importance in visual culture and creativity seriously. Women, Art, God provides a bold and fresh approach to feminist theology and art history.

For the November diary, I begin by staying with the question that Lepine explores in her book: How can art by women transform our experiences of spirituality and religion? Highlighted exhibitions include works by Edmonia Lewis, Ethelwynne M. Quail, Emma Kunz, Gabrielle Goliath, Cecilia Vicuña, and Yu Hong. This is followed by commissions and exhibitions involving Graeme Mortimer Evelyn, Maurice Denis, Stanley Spencer, Gary Bunt, Charlie Mackesy, and Mark Dunford. We then move through the centuries with exhibitions moving from Constantinople to the Renaissance and the Dutch Golden Age. I end with a series of relational group shows for European Cultural Centre Italy, Focal Point Gallery, NIKA Projects, The Minories, and Foundling Museum.'

My other pieces for Artlyst are:

Interviews -
Monthly diary articles -
Articles/Reviews -

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Michael Kiwanuka - Summer Clothes.

Saturday, 31 October 2026

Windows on the world (592)


 Wickford, 2026

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Thursday, 29 October 2026

VCS Bible & Art Daily - Fishman in Excelsis, Artwork by Paul Thek

The Visual Commentary on Scripture offers 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 brought 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.

My most recent commentary to feature in Bible and Art Daily came in the Series: Fish - Episode 7 of 7: Fishman in Excelsis, Artwork by Paul Thek

About this Series: Fish - There are a lot of fish in the Bible. They are often signs or instruments of God at work. Indeed, large quantities of fish are one of the ways in which Jesus reveals his power and teaches his disciples what their role must be when they begin catching people in their ‘nets’. Artists have enjoyed making signs of fish, too, ever since the ‘ichthus’ became one of the very first Christian symbols. This group of commentaries highlights some of the key appearances made by fishy creatures in the Bible and Christian art.

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.

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.

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Sweet Honey in the Rock - Ain't Gonna Let Nobody Turn Me Around.

Wednesday, 28 October 2026

Interview Update

Since my last Interview Update, I have had an interview published by ArtWay with Nicola Ravenscroft and an interview for Artlyst with Sean Scully and Hughie O'Donoghue.

My interview with Nicola focuses on her bronze sculpture at the Royal Free Hospital which stands as a lasting tribute to the courage, compassion, and dedication of NHS staff. In my joint interview with Sean and Hughie, they reflect on the nature of friendship while discussing aspects of their Irish identity, their experiences working during a hostile period for painting, the subsequent triumph of painting, and their experiences creating works for sacred spaces.'

For more on Nicola, click here for my Artlyst interview with Nicola, and here for an ArtWay Visual Meditation on her work. Click here for a poem published by Stride Magazine that was inspired by Nicola's series of 'in the language of angels' images. I have also written short stories about Nicola's mudcub sculptures (now called EarthAngels), which we exhibited at St Andrew's Wickford. The first story in the series is 'The Mudcubs and the O Zone holes.' The second is 'The Mudcubs and the Clean-Up King'. The third is 'The mudcubs and the Wall'.

See also my other pieces on Sean Scully, here, here and here.

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

They can be found at:

Artlyst
ArtWay
Church Times
International Times
Seen and Unseen
Art+Christianity
The Big Picture
Also see my interviews with artist Henry Shelton here and here and David Hawkins, former Bishop of Barking, here, here and here. I have also published an interview with artist, poet and writer Rupert Loydell, who has also interviewed Nick Battle and Steve Scott.

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De'Borah Powell & The Benefactors - Open My Eyes.