Wikio - Top Blogs - Religion and belief

Thursday, 6 November 2025

St Peter's Hutton: Stations of the Cross by Henry Shelton
















This evening a set of Stations of the Cross at St Peter's Hutton created by Henry Shelton were dedicated by Bishop Guli Francis-Dehqani, Bishop of Chelmsford. Fr Andy Smith and Christine Thomas write: 'Henry's contemporary style, marked by its spare drawings and muted tones, complements the mid-20th-century design of St Peter's.' 

The Stations were prayed before being dedicated and a very special evening was rounded off by a reception at which Henry spoke about his work. A book of reflections and prayers to complement Henry's images is in preparation. Henry had previously created etched glass windows for St Peter's sister church, All Saints Hutton. 

This set of Stations also feature in Mark of the Cross, a book of 20 poetic meditations on Christ’s journey to the cross and reactions to his resurrection and ascension written by myself. The meditations are complemented by Henry's set of semi-abstract watercolours of the Stations of the Cross and the Resurrection.

Henry and I collaborated on two collections of images, meditations and prayers on The Stations of the Cross, Mark of the Cross and The Passion. These provide helpful reflections and resources for Lent and Holy Week. These collections can both be found as downloads from theworshipcloud.

The Passion: Reflections and Prayers features minimal images with haiku-like poems and prayers that enable us to follow Jesus on his journey to the cross reflecting both on the significance and the pain of that journey as we do so. Henry and I aimed in these reflections to pare down the images and words to their emotional and theological core. The mark making and imagery is minimal but, we hope, in a way that makes maximum impact. An example follows:

Jesus dies on the cross

The sun is eclipsed, early nightfall,
darkness covers the surface of the deep,
the Spirit grieves over the waters.
On the formless, empty earth, God is dead.

Through the death of all we hold most dear, may we find life. Amen.

All Saints Goodmayes, which has a set of Stations of the Cross by the artist Henry Shelton, has prepared a booklet of images, reflections and prayers based on these Stations. The reflections and prayers used are those that I wrote for 'The Passion'.

The set of Stations now at All Saints Goodmayes have previously been exhibited at York Minister, St stephen Walbrook, and Chelmsford Cathedral. The booklet comes with a Foreword by The Most Revd and Rt Hon. Stephen Cottrell, Archbishop of York: "At this most holy time, as we follow Jesus on His journey to the cross, Henry Shelton's contemporary images provide an evocative background against which we can place our deepest reflections as we contemplate the Passion of our Lord Jesus Christ, who by his death and resurrection delivered and saved the world."

Together, Henry and I formed commission4mission, an artist's collective that generated church commissions, exhibitions, events and resources. commission4mission was set up in 2009 and became a registered charity (Charity no. 1161109) in 2011. commission4mission ended its work at the end of March 2020. A summary of its work and achievements can be found here.

Henry Shelton was born and grew up in Stratford, East London. He joined West Ham church as a choir boy where he first became aware of the importance of Christian art. After leaving school he joined a London studio as an apprentice draughtsman developing his drawing skills in lettering and fine art. After 15 years of service he set up his own studio receiving many commissions to design for such clients as the Science Museum, Borough Councils, private and corporate bodies.

During this time he continued painting Christian art and after meeting Bishop Trevor Huddleston he completed a series of portraits of him which were exhibited in St Dunstan's Church, Stepney, where he was also confirmed by the Bishop.

Henry worked designing in studios across the world, including Hong Kong and the USA. His commissions include a large oil painting of the Ascension installed as an altarpiece in the Church of the Saviour, Chell Heath; the Millennium clock tower in Goodmayes, memorial etched glass windows in All Saints Goodmayes and All Saint's Hutton, paintings for the Chapel at Queen's Hospital Romford, Stations of the Crown of Thorns at St Paul's Goodmayes, and the Trinity Window at All Saints Goodmayes.

An interview that I undertook with Henry can be read here and here.

----------------------------------------------------------------------------------------------------------

Tuesday, 4 November 2025

Artlyst - The Art Diary November 2025

My November Art Diary for Artlyst begins with exhibitions by artists (including Lakwena Maciver, Hannah Rose Thomas, Tuli Mekondjo, and Paul B. Kincaid), about which I’ve written previously or with which I have worked, and venues with similar connections, mainly with a link to spirituality. Then, there are exhibitions of work by significant artists who have had or have spiritual inspirations, including Stanley Spencer, Sister Corita Kent, Sean Scully, and Edmund de Waal. I conclude with several environmentally themed exhibitions at The Arc, the Museo Nacional Thyssen-Bornemisza, and the Nevada Museum of Art, as well as an exhibition in Mexico City on the theme of failure:

'Welsh sculptor, Paul. B. Kincaid’s work can be found at the Courtyard Gallery in Hereford. His background as a Catholic and his continuing faith are manifested in all his sculptures, from a monumental depiction of St. David in the VallĂ©e des Saints in Brittany, to Adam and Eve; Christ on the Cross; and much more. He also has work on public display in the National Botanical Garden in Wales; Newport in South Wales; Rohan in Brittany and the Carmarthen School of Art. When describing his sculptures, he likens them to angels, as “difficult earth-born images”. Not the soft feathered Seraphim of familiar thought instead” a heavy, muscular manifestation that pushes out of a dark concentrate, a kind of rich physical loam that contains the seed of life” – “Dust thou art and unto dust thou shalt return.” These are fixed objects that will not rest; images of sex and death; a paradox of stone that would be flesh.'

My other pieces for Artlyst are:

Interviews -
Monthly diary articles -
Articles/Reviews -
-------------------------------------------------------------------------------------------------------

Emmylou Harris - Light Of The Stable.

Seen and Unseen: Can we stop killing each other?

My latest article for Seen and Unseen 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:

'What more important question can there be for humanity, Jago Cooper, Executive Director of the Sainsbury Centre, asks than ‘Can we stop killing each other?’ The Sainsbury Centre’s radical exhibition programme explores the big issues in contemporary society (see my article ‘Life Is more important than art’) so has rapidly arrived at the point where it is exploring what has wrong with the world when killing occurs and how can we put it right.

Cooper sets out the ground that this series of exhibitions seeks to cover: ‘From interpersonal violence to state level conflict, killing has spread its devastating impact throughout all human cultures across the centuries. Why does this violence occur? And can it be better prevented at a time when increased societal pressures of population growth, resource scarcity, human migration and rapid environmental change make the risk of conflict higher? Every day we read about horrifying acts playing out locally and internationally, but what is the answer to stopping them?’'

For more on this exhibition series see here for my Artlyst review and on the Sainsbury Centre's radical exhibition programme see here. For my International Times interview with Jago Cooper see here.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

-------------------------------------------------------------------------------------------------------

Sunday, 2 November 2025

Home at last








Here's the sermon I shared this evening in our Commemoration of the Departed Service at St Andrew’s Wickford:

‘In 2019, Natalie Bergman was poised to step on to the stage at New York’s Radio City Music Hall with her brother Elliot and their band Wild Belle. It should’ve been a glorious night for the siblings, but before they could play even a single note, they received earth-shattering news: their father and stepmother had been killed by a drunk driver.

Bergman was especially close to her father, considering him her mentor and biggest fan, and his sudden death left her isolated and adrift. “We ended the tour immediately. It also seemed to kind of end my musical ambitions all at once,” she told NPR’s Simon Scott. “I felt as though I lost my identity with his death. I just didn’t really understand who I was.”

After months of grieving, Bergman decided to embrace her sense of isolation even more fully and visited a monastery in the remote California wilderness. During that time of silence, prayer, and reflection spent observing the monastery’s rituals and listening to the monks’ chants, music slowly began easing its way back into her life. Thus were sown the seeds for what would become Bergman’s first solo album, titled simply Mercy’, from which we have just heard the song ‘Home At Last’.

Natalie has explained simply and clearly how it happened: “When I began writing, I had already lost the greatest love I’ve ever had, so I had nothing else to lose. I went for it. I sang from the depths of my sorrow and I witnessed a little light while doing so.”

On the album, she finds different sources of hope and help. ‘Talk To The Lord’ quotes Psalm 23 – ‘Though I walk in shadows, I won't be afraid / I will fear no evil / For You walk with me’ – in order to state that:

‘When you are scared, reach out your hand
Talk to the Lord, talk to the Lord
If you are sad, He'll dry your tears
Talk to the Lord, talk to the Lord’

In ‘I Will Praise You’, she says ‘When I'm broken, I will sing Your name’, while ‘Shine Your Light On Me’ also quotes Psalm 23 in a prayer for light as she cries like a ‘mourning dove’ for her ‘greatest love’. ‘Paint The Rain’ documents difficult days but discovers that:

‘In this pain, you make me sing
When I am blue, you take me in
My little ways, they feel strange
You give me a little bit, and you take it away
You paint the rain’

In these ways, she has been enabled to live again and to find joy particularly in family life. These can all be significant helps for us in our journeys through grief as well. There is one more specific help that Natalie Bergman received from her time at the Chama Valley Monastery:

‘one of the most important answers that I got from the heavenly father is that heaven is a realm that exists and we have no idea what it is. I did a lot of reading there, and one of the scriptures I read was that, “Everything the eye has seen, and the mouth has tasted, and the heart has felt, that is not what heaven is.” Heaven is such a different realm than anything we’re even capable of experiencing, and it’s this great mystery, which is why it’s so hard and challenging to have such a strong faith because no one is promised this. I really needed to know that it existed because I need my father to be there and I need my mother to be there, whether it’s a physical place or a spiritual one. Whatever this place is, I learned that it indeed exists and that was the greatest comfort to me. That was the biggest thing I took from the monastery.’

It is this understanding that she explores in ‘Home At Last’. The song begins:

‘I come to You to answer my prayer
I long to know about Heaven
After the body dies
Where does the soul begin?
Where have all the good people gone?
The people that I love
Have they gone to the Garden
Where the tree of life grows tall
And the weeping is no more?’

In the song she asks specifically of her father, ‘Is he home at last?’, and ends the song with the repeated assurance that ‘Yes’, ‘He is home at last’.

This is the assurance that Jesus gave to his disciples in the teaching he gave them at the Last Supper before his own death on the cross (John 14.1-7). He said then that he was going from them into death to prepare a place for them among the many dwelling places in his Father’s house and that if he was going away from them for that task, he will come again and will take them and us to himself, so that where he is, there we may be also.

This is the promise that Natalie Bergman came to realise was true for her father, as it is also for us and for those we have lost. This is why at the end of every funeral I take I pray these words: ‘Lead us to a place of peace and refreshment; guide us to springs of life-giving water; wipe away the tears from our eyes and bring us to heaven where there is no more death, no more grief or crying or pain in your presence, Father, Son and Holy Spirit.’ Heaven is the place where ‘Where the tree of life grows tall / And the weeping is no more’.

Jesus describes being with God in homely terms that we can all understand. He says it is like being in God’s house with a special room already prepared for us. Our homes are usually where we feel most secure – we feel “at home” there – and our rooms tend to reflect our unique personalities as we fill them with things that we like and which interest us. So, Jesus is talking here about the way in which God knows each of us, knows what we need and is actively preparing for when we go to be with him.

So, God is prepared to welcome us but have we prepared ourselves to meet with God? Often, we are like Thomas in this reading and like Natalie Bergman before the death of her father, we don’t know where we are going or who we will meet when we get there and so we can be afraid of death and of dying.

God has given us a way of getting to know him before we die and that is by coming to know Jesus Christ for ourselves. As Jesus says in his reading, he is the way we can come to know God for ourselves because he is God himself. He is the truth about God because when we look at Jesus, we see what God is actually like, someone who is prepared to sacrifice everything in order to show his love for us. And he is the life of God, the one who can take us by the hand and lead us into everlasting life together with God.

So, as Natalie Bergman discovered and as she sings in ‘Talk To The Lord’:

‘When you are scared, reach out your hand
Talk to the Lord, talk to the Lord
If you are sad, He'll dry your tears
Talk to the Lord, talk to the Lord’



See also my review for Seen and Unseen of Natalie Bergman's recent gig at Union Chapel 

-----------------------------------------------------------------------------------------------------------

Natalie Bergman - Home At Last.

An upside-down kingdom

Here's the sermon that I shared at St Margaret’s Bowers Gifford this morning:

At my first training weekend as a curate the then Bishop of Barking, David Hawkins, performed a handstand to demonstrate the way in which Jesus, through his teaching in the beatitudes (Luke 6: 20-26), turns our understanding of life upside down. His action turned our expectations of Bishops and their behaviour upside-down at the same time as it perfectly illustrated his point.

G. K. Chesterton used a similar image in writing about St Francis of Assisi: “[Saint] Francis, at the time … when he disappeared into the prison or the dark cavern, underwent a reversal of a certain psychological kind … The man who went into the cave was not the man who came out again … He looked at the world as differently from other men as if he had come out of that dark hole walking on his hands … If a man saw the world hanging upside down, with all the trees and towers hanging head downwards as in a pool, one effect would be to emphasise the idea of dependence … It would make vivid the Scriptural text which says that God has hanged the world upon nothing.”

In what ways do these images and Jesus’ teaching in the beatitudes turn our understanding of life upside down? Jesus’ radical heartbeat can be sensed in every word of the Sermon on the Mount. The core of the sermon is a call for God’s people to be entirely different. Some of the greatest examples of the call to be different are found in the Beatitudes.

The Beatitudes give us a sense of the radical kingdom lifestyle that Jesus calls us to. 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 you who are poor.” 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 you who weep now.”

Donald Kraybill writing about this upside down kingdom says: “Jesus startles us … good guys turn out to be bad guys. Those we expect to receive the reward get a spanking instead. Those who think they are headed for heaven land in hell. Paradox, irony and surprise permeate the teachings of Jesus. They flip our expectations upside down. The least are the greatest. The immoral receive forgiveness and blessing. Adults become like children. The religious miss the heavenly banquet. The pious receive curses. Things aren’t like we think they should be. We’re baffled and perplexed. Amazed we step back. Should we laugh or should we cry? Again and again, turning our world upside down, the kingdom surprises us.”

It is the humble poor who know their need of God and those who have nothing who know they need everything. So, we should pray for those moments when we and others experience poverty, hunger and sadness, as they are moments when we are more likely to turn our faces to God looking for salvation. We need to pray for the opening of doors in us and others that gain and comfort have locked tight.

The Gospel announcement, our salvation, is truly comprehensive, is truly for all, because it is offered to losers, by circumstance or choice. The poor have no means of becoming rich but the rich have within themselves the possibility of becoming poor. There is nothing that we don’t have that will bar our entry to this upside-down kingdom and so we can pray to be rid of what we do have that God’s kingdom may truly come to all. In this way, as the Beatitudes state, our lives are turned upside down and we are blessed with poverty, with grief, with meekness, with hunger, with mercy, with purity, with peacemaking, and with persecution (Gerard Kelly, Humanifesto).

As opposed to the survival of the fittest or looking after No. 1, the kingdom of God, as it is described in the Beatitudes, 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. That is what those, like St Francis, that we call saints came to realise. It is what we must seek through prayer as we too respond to our calling to be saints.

May God forgive our attempts to be loved, our pride, our pleasure-seeking and our leisure-seeking and instead turn our lives upside down and bless us with poverty, with grief, with meekness, with hunger, with mercy, with purity, with peacemaking, with persecution and with his upside down kingdom. Amen.

---------------------------------------------------------------------------------------------------

Saturday, 1 November 2025

Nazareth Community Information Evening

 



Following on from the successful HeartEdge events in Wickford and Runwell in June and the resources shared at those events, we are looking to take some of the areas in which interest was expressed forward in a range of different ways. 

One of those is the possibility of setting up a Nazareth Community in South Essex for those interested in intentional communities and contemplative prayer. To that end a Nazareth Community Information Evening is to be held on Wednesday 3 December, 7.00 pm, Billericay Methodist Church, Western Rd, Billericay CM12 9DT. You would be most welcome at this event, along with any other folk you know who might also be interested.

Nazareth Communities bring those who want to live the Christian life generously and intentionally as a gathered Community locally. Nazareth Communities are dispersed Communities with a commitment to seven spiritual disciplines that members seek to incorporate into their own lives and contexts. The contemporary Rule of Life used by Nazareth Communities is: Silence, Service, Scripture, Sacrament, Sharing, Sabbath, Staying With. 

Find out more at the information evening, hear from Rev Moses Agyam, Revd Jonathan Evens and Jim Rose, and explore whether a Nazareth Community could be formed in South Essex. We hope to see you there.

------------------------------------------------------------------------------------------------------------

St Martin's Voices - Lighten Our Darkness.

Beth Chatto's Plants and Gardens
























Beth Chatto transformed an overgrown wasteland deemed unfit for fruit farming, into a series of informal gardens. As the conditions within the garden vary widely, five distinct areas have been created providing useful examples of working with nature to find the right plant for the right place:
Beth Chatto was born in 1923 to enthusiastic gardening parents. After working as a teacher she married the late Andrew Chatto in 1943. His lifelong interest in the origins of plants influenced the development of the Gardens and our use of plants to this day.

Following Andrew’s retirement, in 1960 the Chatto family built their new home on a wasteland that had been part of the Chatto fruit farm. The site presented many difficulties for starting a garden including low annual rainfall. It was to Andrew’s plant research that they turned.

Informed by his knowledge Beth selected plants for a series of Gardens that could thrive under the different conditions. Through gifts of seeds and cuttings a large collection of unusual plants and a good knowledge of propagation was acquired. Since the late fifties Beth Chatto had become involved in the Flower Club movement, lecturing, opening new clubs and demonstrating flower arranging. By 1967 the Flower Club members were an enthusiastic audience for unusual plants. Requests for catalogues followed and from a small hand typed sheet a mail order business and plant nursery was born.

In January 1975 “Unusual Plants” exhibited at the RHS Hall, Westminster, winning a Silver Medal and gaining the first press coverage. From 1977 Beth Chatto and her stand of “Unusual Plants” went on to win ten consecutive Gold Medals at RHS Chelsea. Beth Chatto’s first book, The Dry Garden, was published in 1978. She went on to publish eight books, lectured around the world and wrote articles for magazines, newspapers and online. Beth Chatto was able to get out into her beloved gardens fairly regularly on her electric scooter, chatting with staff and visitors, sharing her deep love and profound knowledge of planting, right up until she passed away on May 13th 2018.

----------------------------------------------------------------------------------------------------------

Stevie Wonder - Black Orchid.