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Sunday, 30 June 2019

Foyer Display: Andrew Carter & Helen Ireland




‘Float’ & ‘Black and Blue’, handprinted on Japanese paper, 120cm x 45 cm, 2019, collaborative linocut prints by Andrew Carter & Helen Ireland

St Martin-in-the-Fields is home to several commissions and permanent installations by contemporary artists. We also have an exciting programme of temporary exhibitions, as well as a group of artists and craftspeople from the St Martin’s community who show artwork and organise art projects on a temporary basis. One of the initiatives from this group is a changing display of work by the group members or artists linked to the group. Each month a different artist shows examples of their work, so, if you are able, do return to see the changing display.

‘Float’ was made in response to a walk along Studland and Shell Bay in Dorset, watching and collecting pieces of seaweed as they washed up and floated in the tide. Helen made a series of drawings from the sea weed and then we both cut the blocks and printed them with transparent ink so that the shapes would appear as layered, delicate traces. This piece was printed over a part of the second, splash print.

‘Black and Blue’ came about through a process of experimentation with making transient marks. Splashing, dripping, throwing and making spontaneous ink marks became the basis of this careful and slowly made print. This piece is about different types of time. A quick emotional response made slowly. The overlaying of two strong colours feels bold and all of the accidental markings have become deliberate and permanent.

Both works are made by the two of us; shared response, shared drawing and cutting blocks, choosing colour and printing. All takes time and requires decision making and working together. It has been an exciting challenge and these are the results. Both prints are Artists’ Proofs from an edition of 20.

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Cowboy Junkies - Powderfinger.

Artlyst: Contemplating the Spiritual in Contemporary Art

My latest piece for Artlyst is a review of ‘Contemplating the Spiritual in Contemporary Art’ at Rosenfeld Porcini. This is a gallery that has been unafraid to show work inspired by spirituality, as evidenced by the work of Emmanuel Barcilon and Francisco de Corcuera, among others. This, however, is their first show dedicated to the contemplation of the spiritual:

'Contemplating the Spiritual in Contemporary Art a new exhibition at Rosenfeld Porcini is proof, if proof is needed, that there is no shortage of artists exploring, as Erika Doss described them, ‘the intersections of iconography, religious orthodoxy, and issues of faith’. Doss’ claim was that ‘issues of faith and spirituality’ have been ‘very much a part of modern art … as artists of diverse styles and inclinations repeatedly turned to the subjects of religious belief and piety’.'

My other Artlyst articles and interviews are:
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Gillan Welch - Old Time Religion.

Saturday, 29 June 2019

Windows on the world (502)


Hyde Hall, 2019

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Bruce Springsteen - Tucson Train.

Friday, 28 June 2019

Review: To See Clearly: Why Ruskin matters

My latest piece for Church Times is a review of  To See Clearly: Why Ruskin matters, by Suzanne Fagence Cooper.

In this exquisite book, 'Suzanne Fagence Cooper gives a masterclass in how to write well about a subject who was as expansive as she is concise and as florid as she is focused, while sensitively — even poetically — summarising the many insights imparted by her subject.

Her focus is on John Ruskin’s belief that sight is fundamental to all insight, whether poetry, prophecy, or religion. So, this is a book about a purveyor of words who encourages in those who listen or read the discipline of attentive looking.'
Earlier this year I reviewed, also for Church Times, “John Ruskin: The Power of Seeing” at Two Temple Place:

'Ruskin was a man of many words, who believed that, through drawing, one had the power to say what could not otherwise be said. He built his reputation on the power of his words as an art critic, author, and lecturer, but his subject was the power of seeing, because, for him, the teaching of art was “the teaching of all things”. He believed that the “greatest thing a human soul ever does in this world is to see something, and tell what it saw in a plain way”. “To see clearly”, he said, “is poetry, prophecy, and religion — all in one.”

Art, then, is an expression of “the love and the will of God” to which we gain access primarily by looking closely at the splendour of nature.'

Click here to also read the earlier review.

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Antonio Vivaldi - Gloria.

HeartEdge Mailer | June 2019

HeartEdge Mailer | June 2019

HeartEdge is an international ecumenical movement. 

We are churches and organisations developing mission.
We focus on 4 areas - commercial activity, congregation, cultural engagement and compassion.
Join us here!

Each month we email stories, web links and news related to our focus: commercial activity, congregations, cultural engagement and compassion. Useful, inspiring, practical - a resource to take from!

This month:
  • Boaz Life and well-being, plus Dementia Cafe's and responses to autism.
  • Church buildings as places of safety and church gardens as sanctuary.
  • Learning from the Commercial - loads of churches & projects to inspire!
  • Rituals, poetry & installations in church - examples & resources.
  • Plus Jessica Foster on questions of vulnerability & leadership.
Read the Mailer here.

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Blessid Union of Souls - I Believe.

Love is all we need

Here's a brief meditation summarising 1 Corinthian 13 that I wrote for a recent wedding I was privileged to lead:

No words have meaning without love.
No prophecies have power without love.
No understanding comes without love.
No faith is true without love.
No gift is shared without love.
No sacrifice is real without love.

Love is giving and not taking.
Love is receiving and not insisting.
Love is waiting and not rushing.
Love is bearing and not discarding.
Love is kneeling, washing,
anointing, serving.

Love is words in action.
Love is birth, life, death.
Love is the alpha and omega,
the beginning and the end.
The centre and the core,
the heart.
Love is our one achievement.
Love is all. Love is all we need.

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Victoria Williams - Love.

Monday, 24 June 2019

Artlyst: Mat Collishaw Challenges Faith Perspectives With Ushaw Installation

My latest preview piece for Artlyst highlights a new commission from internationally renowned British artist Mat Collishaw which will see the artist create a site-specific installation that explores the themes of martyrdom and treason, worship and heresy at Ushaw, the former seminary in County Durham, from 5 July until 3 November:

'This work will continue Collishaw’s meditations on the alluring and the revolting, the familiar and the shocking, the poetic and the morbid. The installation will call attention to the beauty of Pugin’s work and the treasures held at Ushaw. Once again, the morality of his upbringing and the challenges of faith – both light and shadow – will seed his work.'

My other Artlyst articles and interviews are:
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Bill Fay - Omega Day.

Sunday, 23 June 2019

This Stuff Matters

This Stuff Matters is a new exhibition created by Museum of Homelessness in partnership with the Connection at St Martin-in-the-Fields.

Curated by people from the Connection at St Martin’s, working with members of Museum of Homelessness community and supported by artist Chloe Osborne, this capsule exhibition takes the largely hidden history of homelessness in the UK as it's starting point and uses it to ask questions about what is happening today.

There is a hidden history of homelessness in the UK that shines a light on today’s crisis. This is a history that shows us what has happened on the streets, in hostels, in politics and in people’s lives over the last 70 years. The curators have selected 13 items from the archive at the Museum of Homelessness to share with the public. These include placards made to protest the recent housing crisis, obscure archival records that highlight long lost social agitators and campaigning material from the past as well as today.

Rather than a typical exhibition or a timeline of homelessness history, the curators are offering an experience from the heart; a series of glimpses into what has gone before and what is happening today. Labels and documentary evidence within the show has been written by people who either are or have been homeless.

History is something we pay close attention to at the Museum of Homelessness, yet all too often in the debates about homelessness and housing, it is forgotten. The lessons that history could teach us are not being learned. In 2018 Shelter estimated that at least 320,000 families were homeless and research by the Bureau of Investigative Journalism tells us that between October 2017 and March 2019, 800 people have died whilst homeless, many in tragic and avoidable circumstances.

This Stuff Matters is an exhibition about learning from history, and about the questions that matter about homelessness today. This work is driven by direct experience of homelessness. Do visit to support and celebrate those participating and to explore the questions that matter.

This Stuff Matters will run until 2nd September 2019 in the Crypt of St Martin-in-the-Fields.
This Stuff Matters would not be possible without the support of St Martin-in-the-Fields who are hosting the exhibition, and Turning Point who have funded the project.

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Dire Straits - On Every Street.

Saturday, 22 June 2019

RA Summer Exhibition

Run without interruption since 1769, the Summer Exhibition at the Royal Academy of Arts is the world’s largest open submission art show and brings together art in all mediums – prints and paintings, film, photography, sculpture, architectural works and more – by leading artists, Royal Academicians and household names as well as new and emerging talent.

This year, acclaimed British painter Jock McFadyen RA takes the mantle from Grayson Perry to co-ordinate the 251st Summer Exhibition. Over 1,500 works are on display, most of them for the first time. Highlights include an animal-themed ‘menagerie’ in the Central Hall, with works by artists including Polly Morgan, Charles Avery, Banksy and Mat Collishaw. Artist sisters Jane and Louise Wilson RA have curated two galleries, one of which showcases work exploring light and time. Further artists exhibiting include Jeremy Deller, Marcus Harvey, Tracey Emin RA, Frank Bowling RA, Antony Gormley RA and Honorary Academicians Anselm Kiefer, James Turrell and Wim Wenders.

Outside the galleries, international artist Thomas Houseago has taken over the RA’s courtyard with a group of large-scale sculptural works, and the exhibition spills out into nearby Bond Street with a colourful installation of flags featuring work by Michael Craig-Martin RA.

In addition to the above check out the following:

T Bone Burnett · Jay Bellerose · Keefus Ciancia - A Man Without A Country (All Data Are Compromised).

HeartEdge Introductory Days










The latest HeartEdge Introductory Day was held at Jesmond URC in Newcastle on 11 June and drew together an engaged group from across the denominations. 

Sam Wells began the day by speaking about going beyond the benefactor and steward in the way we fund churches. Then we heard about local initiatives exemplifying the 4 Cs: Faith in Our Community CAFÉ Together in Easington Colliery run a community lunch once a week with cookery classes, summer activities and a pop-up restaurant also happening regularly; Forget Me Knot organise a community pantomime with the URC church and community in Roker; St Michael's in Byker work with youth and community to rebuild the church and its activities; and Churches’ Key Project in South Tyneside provide young people with accommodation, mediation with family members and life skills to help them find their way. 

Jonathan Evens described HeartEdge as a ‘movement for renewal fuelled by its members’. After a wonderful lunch provided by Social Chef, we heard from Sunderland University Chaplain Chris Howson on healing communities in the midst of Brexit. The afternoon was spent in workshops including how to … run a community lunch, develop enterprise, engage your community at Christmas and nurture good mental health. Speakers were from community projects across the region and gave participants a more in-depth look at how to set up these kinds of projects and what challenges and rewards they give us. The day closed with some Theological reflections from Fr. Chris Hughes and Sam Wells. 

Feedback after the event included:
  • ‘The day at Jesmond URC was a wonderful time of learning, sharing and fellowship with a real and obvious enthusiasm from both speakers and participants for getting involved in the community.’
  • ‘What an interesting and lively day at Jesmond yesterday. I'm so glad to have been there. There's plenty to consider prayerfully and challenges to broaden what being church is about.’
  • ‘I especially liked the view of church as Congregation, Compassion, Culture and Commerce emphasising that a church was not solely spirituality.’
The next HeartEdge Introductory Day is on Thursday 27 June at St Thomas' Derby. Working across Derby, Nottingham and the surrounding area? Urban, suburban or rural? We would love you to join this practical one-day intensive introduction to HeartEdge with Sam Wells and guests. We're ecumenical and open to all. The day will explore approaches to mission, do theology, develop ideas and help build on the community of practice in Derby. Book in here.

In addition to Sam Wells, the programme also includes: Paul Morris (St Peter’s Derby), Christopher Harrison (St Peter’s Nottingham), Joseph Chivayo (Derby City of Sanctuary), Simon Cartwright (St Thomas'), Michael Gladwell (Derby Language School), Beth Honey (Derwent Oak), Pat McMenemy & Courtney Smith (Women of Faith Nottingham) and Julian Penfold (St James Riddings).

To register for a free ticket click here.

The day will explore approaches to mission, do theology, develop ideas and help build on the community of practice in Derby and Nottingham. We'll do this by referring to:
  • Congregation: Liturgy, worship & new congregations
  • Commerce: Being entrepreneurial, growing income via enterprise
  • Compassion: Grow participation to address social need
  • Culture: Art, music connecting with communities
We'll start with refreshments from 10am and a programme from 10.30am.
  • Programme will include panel discussion and practical ‘how to’ session.
  • Lots of opportunity to build networks, make connections, with time to meet over lunch & refreshments.
Practical, inspiring with lots to celebrate and take away - we hope you can join us.

HeartEdge is a growing ecumenical network of churches and other organisations, in the UK and overseas, initiated by St Martin-in-the-Fields. Joining HeartEdge is easy - find out more here.

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Lifehouse - Everything.

Windows on the world (501)


Hammersmith, 2019

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T Bone Burnett, Jay Bellerose, Keefus Ciancia - High John.

Saturday, 15 June 2019

ArtWay Meditation: Deborah Thompsett

My latest visual meditation for ArtWay has just been published. This meditation is on Deborah Tompsett's A Thousand Bottles of Tears. I conclude the meditation by saying:

'Deborah began by seeking a vessel to hold our tears of sorrow and joy, our shouts of pain and grief, our questions and thanksgivings. As Williams and Etzioni state, now that our loved one is gone, we can't cry hard enough for that person to hear us now. Nevertheless our tears, as Washington Irving remarked, are not a mark of weakness, but of power: ‘They speak more eloquently than ten thousand tongues. They are the messengers of overwhelming grief, of deep contrition and of unspeakable love.’ That is why there is ‘a sacredness in tears’, a sacredness that is captured and held in this installation. ‘Hear my prayer, O Lord, and let my cry come unto thee.’

A Thousand Bottles of Tears won the The Chaiya Art Awards 2018. The Awards proved hugely popular, with over 450 entries and more than 2,700 exhibition visitors. Awards founder Katrina Moss says, in an interview with me, also published by ArtWay, ‘I set up the project to uncover and promote gifted artists looking to explore spirituality, faith and social change through their creativity. It was a delight to see that fulfilled in the artwork we received in 2018.’

The Chaiya Art Awards is open to any artist and covers all mediums including painting, drawing sculpture, ceramics, glass, textiles, mixed media, photography and video. Entrants are invited to be authentic and daring as they respond to the theme ‘God is …’. There are other cash prizes as well as the main £10,000 award, including £1,000 for the Public’s Choice from the gallery exhibition. A new category for Community Groups, who can submit a collaborative piece, has also been introduced.

The culmination will be an exhibition over Easter 2020 at London’s prestigious gallery@oxo. Consisting of all shortlisted entrants it will run from 10 to 19 April 2020.

My other ArtWay meditations include work by María Inés Aguirre, Giampaolo Babetto, Marian Bohusz-Szyszko, Alexander de Cadenet, Christopher Clack, Marlene Dumas, Terry Ffyffe, Antoni Gaudi, Nicola Green, Maciej Hoffman, Giacomo Manzù, Michael Pendry, Maurice Novarina, Regan O'Callaghan, Ana Maria Pacheco, John Piper, Albert Servaes, Henry Shelton and Anna Sikorska.

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The Williams Brothers - Can't Cry Hard Enough.

Windows on the world (500)


London, 2019

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Joan Armatrading - Me, Myself, I.

Anya Gallaccio, Victoria Crowe, Karólína Lárusdóttir & John Johnstone

A recent visit to Scotland enabled some brief visits to galleries which included the following:

NOW is the Scottish National Gallery of Modern Art’s dynamic three-year series of contemporary art exhibitions. The fifth installment in the series is centred on a major survey of work by Anya Gallaccio.

The Paisley-born artist, who was nominated for the Turner Prize in 2003 and was a prominent figure in the Young British Artists generation, is renowned for her spectacular installations and sculptures. Using all kinds of organic materials, including trees, flowers, candles, sand and ice, she creates temporary works that change over time as they are subjected to natural processes of transformation and decay. Gallaccio also makes more permanent artworks in bronze, ceramics, stainless steel and stone that attempt to capture or arrest these processes. Exploring themes of change, growth and decay, some of the other artists appearing in NOW are French artist Aurélien Froment, sculptor and installation artist Roger Hiorns and Scottish artist Charles Avery.

Among the works on display from Edinburgh-based Froment are a 200-metre length of rope which changes colour gradually from one end of the spectrum to the other, and a film collaboration with Canadian poet Steven McCaffrey that documents the worsening of the Tapestry of Angers, France’s oldest surviving medieval tapestry.

For his video Apocalypse, Froment was inspired by the largest tapestry in the world: the Apocalyps of Angers. It represents the story of the Revelation to John on Patmos and depicts the power of God’s word. In his film, Froment presents the text of Revelation through the filter of Jean-Pierre Brisset’s (1837-1919) poetry. Just like Brisset went in search of the origins of the French language, Froment researches the grammar of primal sounds and applies them. His films thus blends texts and tableaux from the apocalypse, resulting in a flood of meanings and symbols.

Charles Avery views his work as being divided into two areas; atomic and mystic. His ‘atomic’ works are abstract and geometrical and his ‘mystic’ works consist of figurative pencil drawings. Avery prefers to exhibit them together in order to explore questions raised in metaphysics, mathematics and philosophy. He is particularly interested in the work of the philosopher Ludwig Wittgenstein, from whom he took the idea of an atomic and mystic approach to art. Avery’s drawings are made entirely from his imagination, and although they appear to be part of a larger, unknown narrative, they are completely improvised.

In 2004 Avery embarked on a project called The Islanders, which was conceived as a way to explore, consolidate and give direction to his art and ideas. The Islanders is a painstakingly detailed and diverse description of a fictional island in drawing and painting, sculpture and texts. A recent Galleries acquisition, a fascinating installation from Avery which continues to explore this painstakingly-detailed project, is exhibited for the very first time.

'Victoria Crowe: 50 Years of Painting' at the City Art Centre, Edinburgh is a retrospective for one of the most vital and original figurative painters currently at work in Scotland. Crowe says of her paintings, “I have worked mostly from landscape and have always been interested in Russian culture and painting — particularly the multi-images in Russian icon paintings.' Vicky Allan writes: 'The landscapes of Victoria Crowe tell a story. It's there in the trees – the loss of her son to cancer, the impact of her shepherdess friend and the growing global awareness that nature may be more fragile than we have thought.'

At the Castle Art Gallery in Inverness I saw prints by Karólína Lárusdóttir. Originally from Iceland, Karólína's prints and paintings are evocative of a childhood filled with native characters and customs. Karólína's grandfather owned the first grand hotel in Reykjavik, Hotel Borg, and many a childhood holiday was spent there, providing a lifetime of inspiration for her work. Prints are often populated by chefs and chambermaids or people taking tea or soup. Their faces are unsmiling, yet expressive and intense but never dour, relating to one another as if in silent understanding. In other prints we are privy to a strange ceremony or gathering, where angels are occasionally present; scenes that are part of the mysterious world of adults and their subtle exchanges and inscrutable conversations as witnessed by a child.

There I also found out about another of Scotland’s leading figurative artists, John Johnstone. Johnstone's early work was influenced heavily by the work of artists such as Soutine and Kokoschka. When John combined these influences with his fascination for the human figure, a distinctive and powerful style emerged. This work was concerned with death, social injustice and inhumanity These early works mark a strong contrast to the more light-hearted caricature paintings for which he is well known today. He writes, “My paintings seem to be expressing something either serious or amusing about life. They depict people acting out minor dramas. Gesture, composition, characterisation and setting are important. There is an element of gravity in them, but the humorous side probably eclipses that aspect.” Johnstone's work includes several Biblical paintings from Adam and Eve to the Temptation of Christ.

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Belle and Sebastian - Another Sunny Day.

Sunday, 9 June 2019

ArtWay & Artlyst: Chaiya Art Awards & Waterloo Festival

My latest art articles highlight two excellent, but very different, art and faith initiatives.

The Chaiya Art Awards 2018 proved hugely popular, with over 450 entries and more than 2,700 exhibition visitors. Awards founder Katrina Moss says, in an interview published by ArtWay, ‘I set up the project to uncover and promote gifted artists looking to explore spirituality, faith and social change through their creativity. It was a delight to see that fulfilled in the artwork we received in 2018.’

The Chaiya Art Awards is open to any artist and covers all mediums including painting, drawing sculpture, ceramics, glass, textiles, mixed media, photography and video. Entrants are invited to be authentic and daring as they respond to the theme ‘God is …’. There are other cash prizes as well as the main £10,000 award, including £1,000 for the Public’s Choice from the gallery exhibition. A new category for Community Groups, who can submit a collaborative piece, has also been introduced.

The culmination will be an exhibition over Easter 2020 at London’s prestigious gallery@oxo. Consisting of all shortlisted entrants it will run from 10 to 19 April 2020.

The Waterloo Festival was launched by St. John’s Waterloo as a means of celebrating and reaching out to the local community and the broader audience of London through a focus on arts and heritage. This year’s theme, ‘Transforming Being’, continues a five-year journey of transformation, diving deep into the synergies between well-being and creativity. It’s all about connecting people and ideas, creating bridges between the artistic life of the area and of those who live, work and study in it.

My latest article for Artlyst focuses on the three exhibitions The London Group have organised for The Waterloo Festival 2019. The London Group was set up in 1913 by thirty-two artists including Walter Sickert, Jacob Epstein, Wyndham Lewis, David Bomberg, and Henri Gaudier Brzeska. Their three exhibitions showcase the diversity of members’ practices by focusing on sculpture, photography and moving images.

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Soul Sanctuary Gospel Choir - Bridge Over Troubled Water.

Saturday, 8 June 2019

Windows on the world (449)


London, 2019

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Arvo Pärt - Da Pacem.

Mark Dean: Color Motet





In his book God in the Gallery: A Christian Approach to Modern Art Daniel Siedell suggests that many works of modern and contemporary art are ‘poignant altars to the unknown god in aesthetic form.’ He makes this claim because such works manifest the priestly function of ‘yearning for a liturgical reality that reveals the world as gift and offering.’ These altars/artworks become a ‘place in which the visible and invisible creations, the tangible and intangible creations, are linked together.’

Mark Dean made his first looped film appropriation work in the 1970’s while studying photography and painting; in the 1980’s he began working with musical loops in bands and as a DJ; he eventually combined these practices in the methodology for which he became recognised as a video and sound artist. The ‘votive’ implications of Dean’s work took on new significance when he was ordained in the Church of England in 2010. He is not seeking to make images of God, however, but rather the representation of personhood; that is, the experience of being a person in a world where there is a God. His practice has synergies therefore with Siedell’s citing St John of Damascus in identifying humanity as the ‘place in which the visible and invisible creations, the tangible and intangible creations, are linked together.’

In 2017 Dean began to incorporate actual altars into his work when his 14 Stations of the Cross videos were projected onto the Henry Moore altar in St Stephen Walbrook church during an all-night Easter vigil. With Color Motet (2019) he is projecting onto a relatively new altar, in blood red Venetian plaster, created by the ceramicist Julian Stair as part of the re-ordering of St Augustine’s Hammersmith. The RIBA award-winning refurbishment of the church, was undertaken The Order of St Augustine as the first phase in redeveloping its headquarters in Hammersmith. Fr Gianni Notarianni, parish priest and artist, commissioned the architect Roz Barr together with craftspeople and designers such as Stair and John Morgan to transform the building. Stair’s altar now sits below a large cast iron circular light fitting surrounded by a hand-painted fresco incorporating gold leaf on the rear wall of the altar.

Dean’s piece is a new video and sound work which combines film extracts of Sister Corita Kent’s pop art Mary’s Day celebrations, with footage taken from wedding videos where people are fainting. Additionally, Thomas Tallis’ 40-part Renaissance motet plays over them. The work continues the artist’s investigation into the liturgical potential of his art works, in this instance with video functioning as an altar frontal.

A motet is a polyphonic sacred choral composition, usually unaccompanied, in which ‘the fundamental voice (tenor) was usually arranged in a pattern of reiterated rhythmic configurations, while the upper voice or voices (up to three), nearly always with different Latin or French texts, generally moved at a faster rate.’ Dean’s piece is also polyphonic as it fuses and collages its two videos and mixes two versions of Spem in Alium – Tallis’s motet and a plainchant setting of the same text:

I have never put my hope in any other
but in Thee, God of Israel
who canst show both wrath and graciousness
and who absolves all the sins
of humanity in suffering
Lord God
Creator of Heaven and Earth
Regard our humility

It is likely that Tallis designed Spem in Alium ‘to be heard ‘in the round’, with the audience seated within a circle of singers.’ ‘Beginning with a single voice, the composer deploys as many effects as he can, displaying a mastery of counterpoint and scoring all 40 voices together at four key moments.’ In a similar way, the Mary’s Day processions organised by the art department of the Immaculate Heart of Mary school in Los Angeles and led by Sister Corita Kent, were designed to be immersive happenings. Such immersive liturgical rites can be overwhelming, as with Dean’s second video in which people faint or collapse during services. Color Motet celebrates such rites and the connection between heaven and earth, the human and the divine, that they attain.

As a priest, Dean mediates between creation and Creator. Alexander Schmemann has asserted that the priest: ‘stands in the center of the world and unifies it in his act of blessing God, of both receiving the world from God and offering it to God—and by filling the world with his Eucharist, he transforms his life, the one that he receives from the world, into life in God, into communion with him.’ With Stations of the Cross, Stations of the Resurrection, Pastiche Mass and now Color Motet, Dean is exploring the extent to which his art can also become a ‘place in which the visible and invisible creations, the tangible and intangible creations, are linked together.’

Color Motet is exhibited by Austin Forum as part of HF ArtsFest (Hammersmith & Fulham Arts Festival). Austin Forum aims to re-establish a strong and creative relationship between the Catholic Church and the Arts, especially within contemporary visual art. In the twentieth century, the Catholic Church invited its members to “read the signs of the times”. In response to that, Austin Forum is working with artists whose artistic expressions say something about the world and the human condition today. Austin Forum celebrates the creativity and practice of emerging and established artists and invites them to engage and respond to the sacred space thereby enhancing worship and contemplation in the church.

Mark Dean - Color Motet, 1-9 June, Mon-Fri: 9-11.45am, 2-7pm, Saturday: 2-5.30pm (please note: closed Saturday morning), and Sunday: 2-6pm. https://www.austin-forum.org/mark-dean-color-motet. Mark Dean - the artist - https://tailbiter.com/.

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Thomas Tallis - Spem In Alium. 

Friday, 7 June 2019

Lambeth Palace Garden Open Day


Lambeth Palace Garden Open Day
Friday 5th July
12.00 noon – 3.00pm


Supporting work with people who are homeless or living with Mental Health Issues.

This is an opportunity to visit the home of the Archbishop of Canterbury and help people in need at the same time.

Barons Court Project has been successful in securing this prestigious event as a fundraiser and they hope to have as many visitors to the palace gardens as possible, there is also access to the Great Hall and the Chapel. Lunch will be on sale for visitors and we have secured some wonderful entertainment for the event. The event is open to all and for just £5 you can come along and support their work. There is no need to book, just turn up on the day between 12.00 noon and 3.00pm.

Barons Court Project is the only drop-in centre in Hammersmith and Fulham for people who are homeless or living with mental health issues. Rough sleeping sadly rose by 30% last year and they are busier than ever at the centre. They provide a range of practical services to support people living on the streets, including showers, laundry, postal address, access to IT facilities and meals. They also serve people living with mental health issues and have a range of activities designed to promote wellbeing.

Barons Court have to fundraise each year to ensure their service continues. This day will raise funds for a great cause, as well as giving everyone who comes a wonderful day out.

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Michael McDermott - Wounded.

Pots and thrones: ritual bronze vessels of the Shang and Zhou dynasties

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Last night at St Martin-in-the-Fields we heard Yi Chen speak on 'Pots and thrones: ritual bronze vessels of the Shang and Zhou dynasties.' This was the fourth in an occasional series of talks on different aspects of Chinese Art organised as joint events with our Chinese Congregations.

Yi Chen is Curator: Early Chinese Collections at the British Museum. Since it first opened in 1992, the China and South Asia gallery (Room 33) at the British Museum (of which the Early Chinese Collections are part) has helped millions of visitors experience its rich history through a plethora of objects, paintings, and sculptures. The gallery underwent a significant redesign and re-opened in November of 2017 with the content within the gallery being condensed and brought up to the present day. In addition to her work at the British Museum, Yi has spoken and written on aspects of Chinese Art from Late Neolithic to Bronze Age southern China through Buddhist Images on the theme of Pure Land to Fang Zhaoling, one of the foremost women artists of 20th-century China.

Tonight she focused on pots and thrones, ritual bronze vessels from the time of the earliest archaeologically recorded dynasty in Chinese history and opened up aspects of the growth and maturity of a civilization that would be sustained in its essential aspects for another 2,000 years. The rituals for which these vessels were used carried such an important social function, that it is possible to read into the forms and decorations of these objects some of the central concerns of the societies that produced them.

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Fairport Convention - Who Knows Where The Time Goes.

Wednesday, 5 June 2019

Waterloo Festival & The London Group










The Waterloo Festival is an annual celebration in June of arts, community and heritage in the artistic heart of London. It aims to bring together local communities, the wider audience of London and world-class professionals to create new work, discover new connections and to be a source of hope and transformation. It builds on and draws inspiration from Waterloo’s rich history and its unique position on the Southbank fringe. The programme varies from orchestral concerts to contemporary music, from poetry to singing, from walks and green activities to outdoor sculpture exhibitions and discussions on social issues.

This year’s theme, ‘Transforming Being’, continues the Festival's five-year journey of transformation, diving deep into the synergies between well-being and creativity. It’s all about connecting people and ideas.

The London Group have organised three exhibitions for the Waterloo Festival: COMING GOOD, sculpture; METAMORPHOSIS, photography and SELF-SERVICE, artists’ moving image. These three shows offer the opportunity to showcase the diversity of members’ practices.

COMING GOOD: Come Hell or High Water
Sculpture

Date: 06 – 23 June 2019 / open daily
Preview: 05 June 2019 / 6 – 9 pm
Location: St. John’s Churchyard, 73 Waterloo Rd, South Bank, London SE1 8TY 
Artists’ Talk: 17 June, throughout the afternoon from 2 pm
FREE

As we navigate a changing world with constantly shifting boundaries, we need to take on board new possibilities on all levels: physical, psychological and spiritual.

The London Group and Friends present an outdoor exhibition of art works from around 20 international artists. The show explores the process of transformation; be that of matter, ideas or self-perception. Questions of how we interact with nature and our environment, with each other and with our egos will come alive with this feast of art in the spacious gardens of St John’s Waterloo. Artists are responding to the challenge of dousing hell with high water and having fun along the way. You might walk past a milk teeth ‘Scream’ by Paul Tecklenberg or get entangled in Jane Eyton’s jellyfish; you may look into Clive Burton’s eternity hole in the ground or be puzzled by Vanya Balogh’s interactive performances. David Redfern recycles the cross and some mysterious old resin cups have made their way from a Polish forest.

Curated by London Group members Almuth Tebbenhoff and Cadi Froehlich

Exhibiting artists include: James Roseveare, Jane Eyton, Vanya Balogh LG, Keith Ball, Natalia-Zagorska-Thomas, William Watson, Elzbieta Smolenska, Angela Wright, Paul Tecklenberg LG, Clare Burnett, Clive Burton LG, Alex Harley LG, Aude Hérail Jäger LG, David Redfern LG, Sumi Perera LG, Carol Wyss LG, Rebecca Feiner, Heather Burrells, Tommy Seaward LG, Graham Tunnardine, Almuth Tebbenhoff LG, Cadi Froehlich LG …


METAMORPHOSIS
Photography

Date: 08 – 20 June / daily 2pm- 6pm
Location: The Cello Factory, 33-34 Cornwall Rd, London SE1 8TJ
FREE
Preview: Mon 10 June, 6-9pm
Artists’ talk: Mon 17 June, 7pm.
Q&A with Farah Mohammoud & Catherine Dormor: Thurs 20 June, 7pm.

Metamorphosis can mean the transformation from caterpillar to butterfly or in Kafka’s case from man into an insect. This show features diptychs by 17 international photographers. Pairs of images are hung side by side or one above the other, each depicts a process of binary change and transformation such as absent/present, before/after, motion/static, positive/negative, light/dark and so on. The juxtaposition between one image and the other can be subtle or radical, either way provoking the viewer to create a narrative between the two.

Curated by London Group members Paul Tecklenberg and Darren Nisbett

Exhibiting artists include: Carol Wyss LG, Carl Wilson, David Theobald LG, Paul Tecklenberg LG, Simon Reed LG, Darren Nisbett LG, Charlotte C Mortensson LG, Genetic Moo LG, Sam Jarman LG, Vaughan Grylls LG, Jane Humphrey LG, Susan Haire LG, Eric Fong LG, Angela Eames LG, Andrew Cooper, Stephen Carley LG and Vanya Balogh LG.

SELF-SERVICE
Artists’ Moving Image

Date: 10 – 16 June 2019 / daily Mon-Sat 1-6pm, Sun 12-4pm
Location: Old Crypt, St. John’s Church, 73 Waterloo Rd, South Bank, London SE1 8TY
FREE
Preview: Wed 12 June, 6-9pm

“The age of automation will be the age of do it yourself”, Marshall McLuhan

More and more we are being asked to do things ourselves. From shopping to car insurance, services that traditionally required a human representative have been redesigned so that customers complete their business interacting only with machines. Some might argue this gives us more flexibility and choice and while others see us all becoming unpaid employees, required to do the work in order to access what we need. Taking its lead from the check-out counters of supermarkets and petrol station forecourts, this exhibition brings together moving image works that respond to this idea of ‘self-service’. Works were contributed by members of the London Group, invited artists and artists chosen from an open call in response to the title.

​Curated by London Group members David Theobald and Genetic Moo

Exhibiting artists: Katerina Athanasopoulou, Stephen Carley LG, Sandra Crisp LG, Vardit Goldner, Geeske Janßen, Helena Klakocar, Daniel McKee, Micheál O’Connell/MOCKSIM LG, Genetic Moo LG, Charlotte C Mortensson LG, Svetlana Ochkovskaya, Piotr Piasta, Duncan Poulton, Sue Ridge, James Rosamond, Eric Schockmel, Alcaeus Spyrou, David Theobald LG.

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Southbank Sinfonia - Beethoven's Symphony No.5.

In the world, but not of it

Here is my reflection from today's Choral Eucharist at St Martin-in-the-Fields:

Jesus prayed that his followers might be in the world, but not of it (John 17. 11-17). What might he have meant? The following alternative Beatitudes provide one starting point for reflection: 

'Blessed are the wealthy, because there is the Dow Jones index.
Blessed are those who enjoy a good party, for they will drown their sorrows.
Blessed are the assertive, for they will get to the top of their career.
Blessed are those who hunger and thirst after chemical stimulation, for designer drugs are more widely available with every passing year.
Blessed are the ruthless, because no one will get in their way.
Blessed are the cold of heart, for they won’t get hurt when relationships break down.
Blessed are those who are involved in the arms trade, for theirs are the best deals in developing nations.
Blessed are the directors of privatised utilities, for theirs are the fat cat bonuses.'

(created by Spring Harvest guests, 1997, compiled by Rob Warner)

That was a set of beatitudes for our times, a set of beatitudes which are the complete reverse of those which Jesus gave us. Wealth replacing poverty, partying replacing mourning, assertion replacing meekness; that is the way of the world - the way we are often told to live today. It is the way of selfishness, not the way of saintliness and Jesus calls us to something different. He calls to us to be in the world, but not of it.

Jesus turned the received norms of his culture - his day, his time, his world - upside down. He rejected the temptations of wealth, power and celebrity. He taught that those who were blessed were the poor, the merciful, the persecuted. He reinterpreted the Mosaic Law in unexpected ways. He laid down his life in service of others. He died that others might live. He was in the world, but not of it.

Some of the greatest examples of his call to be different are found in the Beatitudes. The Beatitudes give us a sense of the radical kingdom lifestyle to which we are called by Jesus. It is as if Jesus has crept into the window display of life and changed the price tags. It is all upside down. In a world where ‘success’ and ‘self-sufficiency’ are applauded, and ‘the beautiful people’ are ambitious, accomplished and wealthy, Jesus teaches: “Blessed are the poor in spirit.” Our culture encourages us to discard guilt and the sorrow that accompanies pangs of conscience. Happiness is everything, entertainment is king but Jesus teaches: “Blessed are those who mourn.” In our competitive world, self-help seminars teach assertiveness and power is to be sought and used but Jesus teaches “Blessed are the meek.”

The Kingdom of God is a place of happiness for those who know they are spiritually poor, a place of comfort for those who mourn, a place of receptivity for those who are humble, a place of satisfaction for those whose greatest desire is to do what God requires, a place of mercy for those who are merciful, a place in which God is seen by the pure in heart, a place in which those who work for peace are called God’s children, and a place which belongs to those who are persecuted because they do what God requires.

So, for Jesus, the world is all that he turned down when he rejected the temptations to accumulate power, wealth and celebrity. When we live life as though its purpose is our personal gain or that of our people or tribe or nation, then we are in the world and of the world. It is when we renounce such claims that we are in the world, but not of it.

Lyrics from a song written for the alternative worship service in West London called grace sum up what it means to live in the world but as though we are not of it. We do this by living counter to the culture, going against the flow, finding new directions because the kingdom of God is upside down.

In today’s world for us here at St Martin’s this may mean praying that our nation comes to find a kinder, gentler way of talking about immigration. But even if it does not, praying that St Martin’s may remain a place of hospitality and belonging to those on whom our society has turned its back. It may mean praying that the UK returns to a place of seeking to become a model of tolerance, diversity, and respect, but even if it does not, praying that St Martin’s continues to be a place that seeks to be a blessing to all in our country. It may mean praying that our democracy discovers a way to vote not in fear and self-interest but in hope and pursuit of the common good, but even if it does not, praying that St Martin’s continues to be a community that judges democracy by how safe it is to find yourself in the minority. It may mean praying that the church in this land will come to be regarded by all as a home for the outcast and a refuge for the least and the lost, but even if it does not, praying that here, at St Martin’s, we continue to worship a God who in Christ is made known in the hungry and the stranger.

Jesus’ prayer for us is not that we will be taken out of the world, but that we can be in the world and yet not belong to the world; that we are in the world, but not of it.

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Grace - God In The House.