Seen and Unseen: Charlie Mackesy and the age of sanctuary literature

My latest article for Seen and Unseen is on  'Charlie Mackesy: The Boy, the Mole, the Fox and the Horse... and You' at Dulwich Picture Gallery:

'The Boy, The Mole, The Fox and The Horse is a reflective, contemplative book that emerges from a creative process which mirrors the emotional and spiritual journey undertaken by the characters in the book. Mackesy values mess and messy drawings because he believes that ‘Every mess you make can become something’. As a result, ‘the messy process of making art and expressing yourself – even for a few minutes – is good for you and your mental health’. This means that forgiveness, self-acceptance and self-understanding are key. As the Mole says, “Often the hardest person to forgive is yourself”.'

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.

My 43rd article 'The Magdalene we rarely see' was about the painting 'Magdalene at the Base of the Cross' by Chris Gollon.

My 44th article was 'U2’s music shows surrender can still sound like joy' which explores the spirituality of U2.

My 45th article was 'Cathedrals, confessionals, and the strange allure of spiritual fiction' about the return of Susan Howatch.

My 46th article was on the exhibition 'Living by the Rule: Contemporary meets Medieval' at the Sainsbury Centre.

My 47th article was a profile of Andrew Rumsey, Andrew Rumsey and the particular places.

My 48th article was an exhibition review of Peter Howson's 'Salvation' exhibition at Flowers Gallery.

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Natalie Bergman - White Oak.

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 Remembrance 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.

Windows on the world (593)

 Cookham, 2026

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Isobel Gathercole Quartet - Deep Night.

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 -

• Sean Scully and Hughie O'Donoghue - The Big Interview
• Michael Petry Discusses In League With Devils with Revd Jonathan Evens
• Sean Scully A Humility Towards Nature
• Winslow Homer: American Passage An Interview With Biographer Bill Cross
• Grayson Perry Tapestries On Show At Salisbury Cathedral
• Sidney Nolan’s Africa: Interview With Andrew Turley
• Ilona Bossanyi: Tate’s Ervin Bossanyi Stained Glass Window Mothballed After 2011 Redevelopment
• Louis Carreon: Sampling Art History
• Modus Operandi - What Makes Successful Public Art: Vivien Lovell Interviewed
• Genesis Tramaine: A Queer Devotional Painter
• Lakwena Maciver: Review-Interview Hastings Contemporary
• Nicola Ravenscroft - Sculpture With A Peaceful Stillness
• Artist Hannah Rose Thomas – Tears of Gold – Interview
• Marcus Lyon: Human Atlas Explorations
• Elizabeth Kwant Interview
• Helaine Blumenfeld: Undulating Structures
• National Gallery Explores ‘Sin’ In New Exhibition – Interview Dr Joost Joustra Curator
• Betty Spackman: Posthumanism Debates
• Christopher Clack: Connecting The Material And Immaterial
• Peter Howson Artlyst Interview
• Marleen Hengelaar-Rookmaaker On The Legacy Of ArtWay
• Alastair Gordon A Testament To His Faith
• Katrina Moss Chaiya Art Awards Interview: Where is God in our 21st century world?
• Apocalypse Now: Michael Takeo Magruder Interviewed
• Jonathan Anderson: Religious Inspirations Behind Modernism
• Caravan – An Interview With Rev Paul Gordon Chandler On Arts Peacebuilding
• Art Awakening Humanity Alexander de Cadenet Interviewed
• Michael Pendry New Installation Lights Up St Martin In The Fields
• Mark Dean Projects Stations of the Cross Videos On Henry Moore Altar

Monthly diary articles -

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

Articles/Reviews -

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

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Michael Kiwanuka - Summer Clothes.

Windows on the world (592)

 Wickford, 2026

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ABBA - I Have A Dream.

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.