Wikio - Top Blogs - Religion and belief

Friday, 30 July 2021

(Still) Calling from the Edge

 



(Still) Calling from the Edge is the 10th annual conference on Disability & Church. It's a partnership between St Martin in the Fields and Inclusive Church, hosted online by HeartEdge.

Since 2012 these conferences have held space for disabled people to gather, to resource each other and the church. They are uniquely for rather than about disabled people, who are a majority of planners, speakers and delegates.

In this year's conference we explore call as challenge, lament and vocation. Through art, music, story and theology, in plenary talks, small groups, workshops and liturgy. It's a cry for justice that marks a milestone: 10 years of calling from the edge.

''Disabled people have a distinct prophetic ministry to the church. In order for the church to fulfil its prophetic ministry to society, it needs disabled people.” John Hull (Opening the Roof, 2012)



Details & Registration: https://www.eventbrite.co.uk/e/still-calling-from-the-edge-tickets-164001249151

Twitter @livingedgeconf #StillEdge

Image description: a drop of water falling into still blue water, creating a ripple outward



Two pre-conference workshops are also being held:
  • Out of the Depths will explore the theme of calling from the edge in song and sound. Using Psalm 130, a psalm of lament, as the basis for musical creation in various shapes – chant, hymn or poem ready for musical setting. Participants will be helped with hymn metre and the repetition of chanting traditions.
  • Called to the Feast will help create an exhibition of images and words for an inclusive Last Supper. These can be in any media (drawing, paintings, photographs, poetry, prose etc etc) and can focus on any aspect of the Last Supper i.e. the feast, the table, the guests, Jesus etc. The images and words shared will then be shown in an online exhibition during the conference.

Music - Out of the Depths- Friday 3 September 4.30pm - https://www.eventbrite.co.uk/e/out-of-the-depths-tickets-165160309933

Art - Called to the Feast - Friday 10 September 4.30pm - https://www.eventbrite.co.uk/e/called-to-the-feast-art-workshop-tickets-164816778421

(Still) Calling from the Edge - Saturday 16 October 10.00am - 10th annual conference on disability and church - https://www.eventbrite.co.uk/e/still-calling-from-the-edge-tickets-164001249151

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The Style Council - Walls Come Tumbling Down!

Wednesday, 28 July 2021

Apply for the HeartEdge Manchester Choral Scholarships 2021-22

The HeartEdge Manchester Choral Scholarships 2021-22 are a new initiative of stimulating and educative choral training based in the heart of Manchester at St Ann’s Church. The scheme is aimed at choral singers wishing to embark on a professional career in singing. The Choral Scholarships provide an opportunity for nine singers to enjoy an intensive, focused period of development alongside others of a similar standard and interests whilst contributing to a thriving tradition of musical excellence in the city centre parish of St Ann’s Church.

The Choral Scholarships are part of a collaborative project between the Diocese of Manchester and the St Martin-in-the-Fields HeartEdge Network. The main focus of the scholarship will be regular services at St Ann’s on Saturdays during term-time, as well as musical activities at Sacred Trinity Salford and the Hub Church of Ascension, Hulme.

The Choral Scholarship programme is overseen by Andrew Earis, Director of Music at St Martin-in-the-Fields, working with a range of guest conductors and expert choral workshop leaders.

Applications for the HeartEdge Manchester Choral Scholarships 2021-22 are now open! More information can be found on the Choral Scholarship Information Document.

Please complete the application form and send, along with a current CV, by email to Ailsa Campbell, HeartEdge Manchester Choral Scholarships Coordinator, at music@heartedgemanchester.org.

The deadline for applications is 5.00pm on Friday 27th August.

 

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Choral Scholars of St Martin-in-the-Fields - Choral Evensong.

CTiW Newsletter, BLM Book Group and Meet the Chaplains event

Churches Together in Westminster are pleased to announce that our latest CTiW Newsletter Issue No. 22 Summer 2021 is now available at http://ctiw.london/wp-content/uploads/Newsletter-22.pdf. Please do feel free to copy this for your congregations.

Also, we would like to tell you about two new initiatives. The first of which is our new BLM Reading Group. We will be reading “We Need to Talk About Race – Understanding the Black Experience in White Majority Churches” by Ben Lindsay and meeting online to discuss the book on Thursdays 8.00 – 9.00pm, September 16, 23, 30 & October 7, 14. Free – All welcome. Register on Eventbrite at https://cutt.ly/amQqpkI.

Explore eye-opening insights into the black religious experience, challenging the status quo in white majority churches and discuss how we can work together to create a truly inclusive church community. From the UK Church’s complicity in the transatlantic slave trade to the whitewashing of Christianity throughout history, the Church has a lot to answer for when it comes to race relations. Christianity has been dubbed the white man’s religion, yet the Bible speaks of an impartial God and shows us a diverse body of believers. It’s time for the Church to start talking about race.

For poster please click here.

The second initiative is an event called “Meet the Chaplains” to be held at 7pm on 22 October 2021 online at https://www.eventbrite.co.uk/e/meet-the-chaplains-tickets-164735122185. Many of you will be familiar with our “Meet the Neighbours” events hosted by CTiW member churches, and this is an extension of this idea. Chaplains from a number of different sectors within Westminster will be speaking online about their ministries. Everyone is welcome, and we anticipate that this will be an enjoyable and informative event.

For further information please see http://ctiw.london/wp-content/uploads/chaplains-poster-2.pdf.



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The Staples Singers - I'll Take You There.

Waddesdon Manor: Gustave Moreau

 



Gustave Moreau (1826-98) was one of the most brilliant and influential artists associated with the French Symbolist movement. Gustave Moreau: The Fables at Waddesdon Manor aims to display some of the most important works he ever made, unseen in public for over a century.

In collaboration with Musée National Gustave Moreau, Paris, this exhibition reveals for the first time 35 watercolours created by Moreau between 1879 and 1885, on loan from a private collection. They were part of a series commissioned by the art collector Antony Roux to illustrate the 17th-century Fables of Jean de La Fontaine (many of which derive from Aesop’s Fables). They were exhibited in Paris in the 1880s to great acclaim and in London in 1886, where critics frequently compared the artist to Edward Burne-Jones.

Moreau made 64 works for the series, which subsequently entered a Rothschild collection; however, a significant proportion was lost during the Nazi era. The surviving works have not been exhibited since 1906 and they have only ever been published in black and white.

Joris-Karl Huysmans wrote that "Gustave Moreau is an extraordinary, unique artist ... a mystic, locked away in his Paris cell, where the buzz of contemporary life cannot reach him ... Lost in ecstasy, he sees splendid magical visions, the gory apotheoses of other ages." 

Read more about Moreau in my post describing a visit to the Gustave Moreau Museum in Paris.

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Tuesday, 27 July 2021

Wightwick Manor: Pre-Raphaelites and Morris & Co









Built in 1887, Wightwick Manor is a shrine to the Arts and Crafts movement. When Theodore Mander commissioned the building of a new manor on Wightwick Bank in the Old English style in 1887 he started the Mander family's love for Victorian art & design which would unfold over a century of collecting and preservation. However, his untimely death in 1900 left the care and development of the new home (Wightwick Manor) to his son, Geoffrey. His story is one of art and design, industry and politics, told through the house he saved and lived in. 

With its barley twist brick chimneys and oak framed white-washed walls, the design of house looked to be something from five centuries earlier, rather than just five decades old. The garden, designed by Thomas Mawson, retains its clear lines of yew hedges, bold planting and expansive lawns. The house's Aesthetic Movement interiors are heavy with designs by William Morris and his associates. Morris & Co did not formally design for Wightwick Manor but all the wallpapers, fabric wall coverings and soft furnishings were bought through the Morris & Co shop or catalogue.

Over time a unique collection of Pre-Raphaelite art developed, with some major pieces supplied by the National Trust, and small works and sketches either purchased or given to the National Trust. The artworks are shown in a domestic setting. Their collection now boasts over 70 works by D.G Rossetti; 50 by Edward Burne-Jones; 23 by Evelyn De Morgan and 20 by Millais. They also have works by the often overlooked Pre-Raphaelites; Lizzy Siddal, Lucy Maddox Brown and Simeon Solomon

Simeon Solomon was Jewish, gay and suffered from mental health issues. Through his friendship with Rossetti he became one of the group of artists, poets and designers involved in the second wave of Pre- Raphaelitism. He was hailed a genius within his lifetime, exhibiting his art in all the major London galleries, designing stained glass for Morris & Co. and illustrating beautiful books, all to much critical acclaim. Initially he gained much critical and commercial acclaim for his depictions of Old Testament scenes with his accurate portrayal of costume and location, using his own Jewish heritage and community as inspiration, while being sold to a predominately Christian market. Yet he is largely forgotten today and died in obscurity, poverty and alcoholism in the workhouse. The Honeysuckle Room at Wightwick Manor contains 10 works of art by Solomon; most from the later period when he is repeatedly exploring the themes of Night and Death.

In the purpose-built Malthouse Gallery, a new exhibition at Wightwick Manor displays drawings and paintings by the pioneering female artist, Evelyn De Morgan (1855-1919), and the creations of her husband, the preeminent ceramic designer, William De Morgan (1839-1917). The sumptuous interiors and original De Morgan tiled fireplaces at Wightwick Manor provide the perfect setting for the De Morgan Collection to be housed in a purpose-built gallery in the grounds. The current exhibition Look Beneath the Lustre invites visitors to discover how the wonderful De Morgan artworks were created by looking beneath the lustre of the De Morgan’s artwork. More preparatory drawings and sketches by William and Evelyn De Morgan are on display than ever before, inviting the visitor to consider the people and preparation behind the paintings and the plates. Look Beneath the Lustre is in partnership with the De Morgan Foundation with items on loan from the V&A and National Portrait Gallery.

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Loreena McKennitt - The Mystic's Dream.

Saturday, 24 July 2021

Finding Abundance in Scarcity: Steps Towards Church Transformation - A HeartEdge Handbook'


'Finding Abundance in Scarcity: Steps Towards Church Transformation - A HeartEdge Handbook' is a new book from Canterbury Press which includes contributions from myself and others at St Martin-in-the-Fields.

The publisher's description is as follows:

'All churches have had to learn to do things differently during closure due to the coronavirus pandemic. None has been more imaginative or inventive than London's St Martin-in-the-Fields. Through its HeartEdge programmes, it has continued many aspects of its ministry, and developed significant new initiatives and is now a virtual college with an impressively varied programme for practitioners.

Here the St Martin's team reflects theologically and shares its newly found pastoral and practical wisdom in many areas:
  • Finding God in Lockdown
  • Meeting God and One Another Online
  • Rediscovering Contemplative Prayer
  • Facing Grief amidst Separation
  • Preaching at Such a Time as This
  • Singing the Lord's Song in a Strange Time
  • Hearing Scripture Together in Difficult Times
  • Praying through Crisis
  • Creating a Community of Practitioners
  • Finding Faith at Home
  • Conclusion: A Strategy for Transformation
Contributors are all on the staff at St Martin's and key figures in HeartEdge: Sam Wells, Richard Carter, Sally Hitchiner, Fiona MacMillan, Jonathan Evens and Andrew Earis.'

The book uses a similar format to our earlier Liturgy on the Edge: Pastoral and attractional worship in which I wrote about the creation of Start:Stop at St Stephen Walbrook.

Both books can be bought from the online shop at St Martin-in-the-Fields, as can my own The Secret Chord, an exploration of what makes a moment in a 'performance' timeless and special, co-authored with Peter Banks.

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Great Sacred Music - Giving Thanks.

Windows on the world (337)


 London 2021

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Steve Mason - Another Day.

Friday, 23 July 2021

Church Times: Spirituality and Abstraction in Post-war Europe

My latest review for Church Times is on 'Spirituality and Abstraction in Post-war Europe' at Hanina Fine Arts, London, an exhibition of 20th-century abstract artists influenced by esoteric and Eastern religious movements:

'Postmodernism has shone a light into the hidden corners of art history and one of the stories increasingly being explored is that of the interplay between spirituality and modern art. This exhibition adds to that story by highlighting the works of abstractionists from groups such as Abstraction-Création, CoBrA, and Groupe Espace who were engaging with the spiritual teachings of Theosophy, Swedenborgianism, Rosicrucianism, and Eastern religions.

This is ground that was originally covered by the 2008 exhibition Traces du Sacré, an exhibition that provided my first opportunity to review for Church Times. That exhibition, as with this, sought to document the traces of spirituality to be found in modern and contemporary art. As the story of modern art had originally been told primarily as a secular tale, arguments that metaphysical questioning has consistently featured in that story are necessary counterbalances revealing a greater complexity of influence and motivation than was previously allowed.'

The review mentions Marie Raymond and her son Yves Klein about whom I have also written in an article for Artlyst which explores aspects of their spirituality in the context of the exhibition At the heart of abstraction: Marie Raymond and her friends at the Musée des beaux-arts at Le Mans. For more on Yves Klein see my sermon entitled 'Together for the Common Good'.

Other of my pieces for Church Times can be found here.

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After The Fire - Take Me Higher.

Wednesday, 21 July 2021

Visual Commentary on Scripture: A Question of Faith

I'm delighted that my second exhibition for the Visual Commentary on Scripture has just been published and can be found at A Question of Faith | VCS (thevcs.org).

It's called 'A Question of Faith' and explores 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.

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.

The McCahon exhibition varies the usual VCS format slightly by providing a greater focus on works by one artist than is usually the case. That is possible in this instance because all of the works in the exhibition explore aspects of Hebrews 11.

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.

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.

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 Crowded House - Weather With You.

Artlyst: Michael Armitage And The Power Of Art – Royal Academy

My latest review for Artlyst is of 'Michael Armitage: Paradise Edict' at the Royal Academy:

'At the heart of Michael Armitage: Paradise Edict is an exhibition of East African artists whose work has influenced Armitage and around whom, through the van Rampelberg’s, he grew up. He has selected 31 works by six artists – Meek Gichugu, Jak Katarikawe, Theresa Musoke, Asaph Ng’ethe Macua, Elimo Njau and Sane Wadu – each of which played an important role in shaping figurative painting in Kenya and had a profound impact on his own artistic development. He has also selected works by three other Kenyan artists – Wangechi Mutu, Magdalene Odundo and Chelenge van Rampelberg – that are displayed in The Dame Jillian Sackler Sculpture Gallery, just outside the exhibition galleries.

The works chosen explore themes concerned with society, politics, sexuality, and religion, which are also reflected in Armitage’s paintings. His paintings’ colourful, dreamlike settings, play of visual narratives, provocative perspectives, and challenges to cultural assumptions enable exploration of history, politics, civil unrest, and sexuality. In discussing his debt to these artists, Armitage has emphasised the fact that he shares many of their socio-political concerns, in addition to the way they use Christian imagery and different aspects of local cultures.’

My other pieces for Artlyst are:

Interviews -
Articles -
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Saturday, 17 July 2021

Windows on the world (336)

 


London, 2021

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Peter Case - Dream About You.



Living God's Future Now - w/c 18 July 2021

 







'Living God’s Future Now’ is our mini online festival of theology, ideas and practice.

We’ve developed this in response to the pandemic and our changing world. The church is changing too, and - as we improvise and experiment - we can learn and support each other.

This is 'Living God’s Future Now’ - talks, workshops and discussion - hosted by HeartEdge. Created to equip, encourage and energise churches - from leaders to volunteers and enquirers - at the heart and on the edge.

The focal event in ‘Living God’s Future Now’ is a monthly conversation where Sam Wells explores what it means to improvise on God’s kingdom with a leading theologian or practitioner.

The online programme includes:
  • Regular weekly workshops: Biblical Studies (Mondays fortnightly), Sermon Preparation (Tuesdays) and Community of Practitioners (Wednesdays)
  • One-off workshops on topics relevant to lockdown such as ‘Growing online communities’ and ‘Grief, Loss & Remembering’
  • Monthly HeartEdge dialogue featuring Sam Wells in conversation with a noted theologian or practitioner
Find earlier Living God’s Future Now sessions at https://www.facebook.com/pg/theHeartEdge/videos/?ref=page_internal.

Regular – Weekly or Fortnightly

Tuesdays: Sermon Preparation Workshop, 16:30 (GMT), livestreamed at https://www.facebook.com/theHeartEdge/. Please note there will be no Sermon Preparation workshop on Tuesday 6 April.

Wednesdays: Community of Practitioners workshop, 16:30 (GMT), Zoom meeting. Email jonathan.evens@smitf.org to register.

Fortnightly on Mondays: Biblical Studies class, 19:30-21:00 (GMT), Zoom meeting. Register in advance: https://us02web.zoom.us/meeting/register/tZMrcOmgrTgsHt2ceY7LepLhQYqQxS1G1ix9 2021 dates - Gospels & Acts.
  • 26 Jul: Lecture 14 Parables and The Kingdom of God

* Our Sermon Preparation Workshop and Community of Practitioners are currently on a summer break *



Monday


Culture Clinic: Monday 19 July, 14:00-15:00 BST, Zoom. Register here. Culture Clinic is the new monthly offer for anyone and everyone looking for support in developing their church cultural engagement - from setting up a gallery space, developing space gigs, hosting comedy or movie nights. The clinic offers 'how to'... help. Always practical, useful, full of ideas and tactics. The clinic is monthly 1:1 support with Sarah Rogers - HeartEdge Culture Development coordinator.

Tuesday

Reconciling Mission: Building Bridges across Europe
Zoom
Tuesday 20 July, 14:00 (GMT)
Register here
In this webinar, we will explore how Christians might contribute to overcoming current tensions by building bridges across some of the boundaries within Europe. Participants: Alastair McKay is director of Reconciliation Initiatives, Brother Matthew is part of the Taizé Community in France, Cornelia Kulawik is a pastor in Berlin-Dahlem, who is on the board of the Community of the Cross of Nails, Germany, John Witcombe is the Dean of Coventry, and +Robert Innes is the Bishop of Gibraltar in Europe.

How to Try: Design Thinking and Church Innovation
Zoom
Tuesday 20 July, 19:00 (GMT)
Register here
Lorenzo Lebrija, director of TryTank, a lab for church growth and innovation, has developed a straightforward framework for experiments in new ministry based on research and interviews. His book gives tools and templates for how to do just that, and to find God in the failures as well as the successes. Lorenzo will be in conversation with Jonathan Evens and Andy Turner.

Thursday

Reimaging church spaces
Zoom
Thursday 22 July, 19:00 (GMT)
Register here
What are the implications of the HeartEdge 4 Cs for church buildings? How can our buildings be used as places of worship, a resource for community development, spaces for cultural expression, and sites for commercial enterprises? What place should concepts such as ‘Living Heritage’ and ‘Heritage for All’ play in thinking about the use of church buildings? With input from Phillip Dawson, Consultant for FBM Architects, Kathryn Harris of Nick Cox Architects, Nigel Walter, founding director of Archangel, and Revd Robert Thompson.

Friday

Jesus Is Just Alright: A Rock Agape
Zoom
Friday 23 July, 16:30 (GMT)
Register here
We will aim to further demonstrate the potential for use of rock and pop music in mission and ministry by extending the Jesus Is Just Alright series and offering an experimental Rock Agape in Zoom. The Agape meal is a Christian fellowship meal recalling the meals Jesus shared with disciples during his ministry.

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The Revolutionary Army of the Infant Jesus - After the End.

Wednesday, 14 July 2021

The mission of Being With

Here's the reflection I shared in tonight's Bread for the World service at St Martin-in-the-Fields:

The Mission Summer School is a new initiative from HeartEdge and St Augustine's College of Theology exploring mission using the 4 Cs of commerce, culture, compassion and congregation and enabling a deeper engagement with the theology of mission by exploring how it relates to participant’s own practice.

Each morning of the Summer School we are using this passage (Luke 10.1-12) for our sessions of Dwelling in the Word. With Dwelling in the Word we stay with the same passage throughout our time together on the basis that we can always go deeper into the passage and that our shared reflection, inspired by God's Spirit, will always bring new insights.

The passage we have chosen is one which in the church traditions among which I grew up was used as a rallying cry for mission, a call to go forth and tell the good news because the harvest is plentiful, but the labourers are few. The challenge was always for you or I to swell the ranks of those scarce labourers by sharing the gospel with others, whether here or overseas.

I now think that the emphasis such appeals placing on telling the good news to others is an example of the way in which we often overlay our preconceptions on Bible passages and see what we expect to see instead of paying attention to what is actually there. There isn't actually a lot of telling in Jesus' instructions to his disciples, instead there is a whole heap of being with.

So, let's journey with the disciples for a moment through the directions that Jesus gives for their mission. First we should note that he asks them to travel lightly taking nothing unnecessary with them, not being distracted by small talk along the way, welcoming hospitality when they receive it but simply moving on to the next place and the next person whenever they were not made welcome. So, no distractions, just a clear focus on their task.

By sitting light to possessions and by accepting hospitality as it was offered to them they also imposed as little as possible on the people, villages and areas through which they travelled. In our society, since the advent of the Industrial Revolution, we have done anything but. Our footprint has been heavy on our world as we have exploited its resources for our own gain and we are only now beginning to realise the consequences. So, for ourselves, we will do well to reflect deeply on powerful slogans, such as ‘live simply that others might simply live’ and ‘touch the earth lightly,’ which challenge us about the footprint we leave on the earth and its inhabitants.

Travelling light didn’t mean travelling alone. Jesus sent his disciples out in pairs. 'By travelling together we bear one another’s burdens, share joys, and lighten the load of our journey.' Jesus’ expectation was also clearly that his disciples would find open doors and receive hospitality in many of the places to which they travelled. So, Jesus envisaged an evolving mission where they would knock on doors and enter wherever those doors were opened to them.

A key aspect of this approach was to find people of peace in the places to which they travelled. He asked this of his disciples in a context of hostility and challenge where they would be going out like lambs among wolves and yet, among the wolves, he was confident that they would find people of peace. Jesus also calls us to look outside our group or congregation to find people of peace within wider society. He calls us to do this however fractured or secular our communities may be because he is confident that such people can always be found. Ultimately, that is because God is always at work through the Spirit in the world and our task is to see where that is happening in our communities and networks and get involved.

In my previous parish in East London we found allies in those who were lobbying for improved facilities in the local area and those who were interested in setting up green businesses. Through those relationships we brought a library back to the area and step-free access to a local station but also drew new groups into hiring and use of the church centre and set up a social enterprise support service in that same centre. Finding people of peace in our area and joining with them brought much benefit to our church and the wider community.

What Jesus asked next of his disciples was that they spend time being with the people of peace they found, including sharing meals with them. Here at St Martin's, we have much experience of being with others in this way through our Sunday International Group which offers hospitality to those who have no recourse to public funds. In the International Group people are either hosts or guests but the distinction becomes increasingly blurred with guests becoming hosts as both groups come to know each other and as hosts receive insights from and understanding of those who have come as guests. At St Martin's many of those who first came as guests to the Sunday International Group have become treasured members of our community, congregation, Nazareth Community, PCC, volunteers and staff team. We have been renewed, revived, challenged and changed by their presence with us. It has truly been a case of renewal from the edge. The basis for this has been sharing a meal together.

When he introduces the concept of being with, Sam, our Vicar, often uses the example of a soup kitchen where all the time and effort goes into preparing the meal to the extent that those doing so never sit and eat with those for whom the meal is prepared. That ignores the deep need that each of us have for connection and the extent to which shared meals, being signs of heaven, enable us to live God's future now.

When we experience a depth of relationship over a shared meal not only are relationships deepened but misunderstandings and hurts can be healed, and a greater sense of integration and wellbeing can come into existence. That is why Jesus can then, in this passage, speak of healing occurring at this stage in his missional process. In thinking about healing it is vital to remember that, in the society of which Jesus was part, healing was the route to inclusion for many who had been excluded from the social and spiritual life of his society. It is that focus on inclusion and integration as the source of wellbeing that we need to mirror and emulate today, rather than notions of supernatural healing or cure.

When all this has happened - the recognition of people of peace, the being with people of peace, the sharing of meals, the welcome and integration of all - then we have something to say. What can then be said is that the kingdom of God has come near. That in our relationships, sharing and mutuality we have experienced together a taste of heaven. That is not something that we have brought or that is about something only we can offer to others. Instead, it is about real communion, a real sharing, a mutual sharing of selves that is welcoming and inclusive one of the other. In heaven there is only relationship with God, with ourselves, with one another and with the whole creation. It is only as we enter into real and deepening relationships with those who are other than ourselves that we anticipate heaven in the present and live God's future now.

All the talk in my past experience, of church of going forth to tell good news to others who were in need of the news that only I could bring to then if they were to be saved and go to heaven only served to obscure the relational mission to which Jesus called his disciples when sending out the 70 and to which he calls each one of us.

It's not a guilt inducing call that makes the salvation of others reliant on our response. It's a relationship affirming call to live in community, to form partnerships, to deepen relationships, to experience communion, and to live God's future now. As Rachel Held Evans once said, “This is what God's kingdom is like: a bunch of outcasts and oddballs gathered at a table, not because they are rich or worthy or good, but because they are hungry, because they said yes. And there's always room for more.” 

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The Brilliance - See The Love.

Sunday, 11 July 2021

Artlyst: Sidney Nolan: Colour of the Sky – Auschwitz Paintings

My latest article for Artlyst is a preview of 'Sidney Nolan: Colour of the Sky - Auschwitz Paintings' at Sidney Nolan Trust:

'The emotions of Auschwitz were so deep and so strong, however, that they essentially overwhelmed him with the visit triggering ‘an unexpected and lasting retreat from any direct Auschwitz imagery.’

Yet, for that brief period between the Eichmann portraits and his leaving for Poland, Nolan joined Francis Bacon, Romare Bearden, Marc Chagall, Abraham Rattner, Graham Sutherland, and others in finding the image of the crucifixion to be a visual and emotional equivalent to the suffering imposed and endured in the Holocaust.

Nolan had first worked with religious imagery in the summer of 1951 and 1952 when he created a series of seven religious paintings, including Flight into Egypt and St Francis receiving the stigmata, all intended for a future exhibition that was never realised and some for the Blake Prize exhibition of 1952. The series was inspired by a European trip on which he realised ‘that the painters who moved me most (El Greco & Giotto) seemed men primarily of faith.’ Nolan, therefore, joined artists such as Arthur Boyd, Bernard Buffet, Eric Gill, David Jones, Colin McCahon, Georges Rouault, F.N. Souza, Stanley Spencer, and others in expressing a modernist preoccupation with religion and spirituality in this period. Nolan’s Auschwitz paintings are among the rawest expressions of the unredeemable horror that was the Holocaust.’

My other pieces for Artlyst are:

Interviews -
Articles -
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