Top Ten 2025

This is the music, in no particular order, that I've most enjoyed listening to in 2025:

Rosalía - Lux: 'Rosalía’s Lux is a tour-de-force. Recorded with the London Symphony Orchestra and featuring Björk, Carminho, Estrella Morente, Silvia Pérez Cruz, Yahritza and the Escolania de Montserrat i Cor Cambra Palau de la Música Catalana, and Yves Tumor, the album has 18 songs exploring ‘feminine mystique, transformation, and spirituality,’ arranged in four movements with lyrics in 14 different languages.'

Mavis Staples - Sad and Beautiful World: 'If there’s a single album we should all be listening to right now, it’s Mavis Staples Sad and Beautiful World. A singer who’s been always at the forefront in struggles to transform our world through love and justice, whose weariness turns into doggedness, and whose happiness and joy shines through even life’s darkest moments, Mavis Staples draws passion for change from the depths of her soul, and her emotionally resonant vocals shimmer with tenderness in celebratory soul songs, even as the shiver with the grittiness in prowling blues numbers.'

Natalie Bergman - My Home Is Not In This World: 'If Mercy equates to the direct songs of praise and witness found on Bob Dylan’s Gospel albums, then her latest release, My Home Is Not In This World, equates to those later Dylan albums (like Infidels, Oh Mercy, Time Out of Mind and Rough and Rowdy Ways) where faith infuses songs exploring life and love. Bergman has quoted T Bone Burnett’s distinction between songs about the light and songs about what you can see from the light. Mercy is the former and My Home Is Not In This World, the latter.'

Damien Jurado - Brothers and Sisters of the Eternal Son: Jurado's 'eleventh full-length album, Brothers and Sisters of the Eternal Son (2014) stands out as visionary and a triumph of creativity. The album is a distinct stylistic change from his previous Seattle-born acoustic folk/Americana to Jurado’s new latin-inspired, sci-fi, psychedelic spiritual folk. Brothers and Sisters of the Eternal Son is a concept album along with Jurado’s previous Maraqopa (2012) and his newest Vision of Us on the Land (2016), forming a cohesive narrative-based sci-fi trilogy.'

John Davis - John Davis: 'The rest of the self-titled record arrived in 2005, and it did not disappoint. In fact, it may go down as the highwater mark of Davis’ songwriting: soulful, smart, aggressive, honest, and hooky as all get out. The musical palette was considerably broader than that of Superdrag. His Beach Boys obsession reached new heights on “I Hear Your Voice,” “Me and My Girl” hit all the right Rubber Soul notes (indeed, the very fact that he included a ‘secular’ love song on a Gospel record is worth noting), “Stained Glass Window” is the prettiest thing he’s ever done, and “Do You Know How Much You’ve Been Loved?” made a strong case for Davis as a country singer.'

The Lees of Memory - The Blinding White Of Nothing At All: 'For the most part, Blinding White trades the shoegazing layers for acoustic 12-strings, pedal steel, and sitar. Most songs are upbeat and push forward with a strong emphasis on melody. It’s power pop all grown up standing up shoulder to shoulder with the likes of Big Star and The Replacements. Especially tracks like “Find Yourself Walking” and “Hypothetical Shows”. There’s a general sense of hope and love running through each song. Even with the Fisher-lead tracks being the darkest, the album stays focused on its underlying theme of positivity ... It’s the sentimentality that makes The Blinding White Of Nothing At All work so well. A record about love created with love.'

Innocence Mission - Midwinter Swimmers: 'The long-running band’s 13th album surveys faith, longing, and middle age with the commonplace language of awe and a sense of unbarred earnestness ... Much like the way Sufjan Stevens’ most prevailing love songs double as hymns, the Innocence Mission have consistently turned to Catholicism to better understand the world and their place within it. “Oh I’m grateful for you/And oh I am afraid/of many things I should not fear if I believe,” Peris sings on “Orange of the Westering Sun.” Over plodding piano in “We Would Meet in Center City,” she coos, “Are you with me? Can you come? Can you reach me when you want, on any wave?” It’s an emotionally walloping chorus, and she answers those questions with a wordless, goosebump-inducing vocal refrain that, appropriately, feels like being brushed by a ghost. Midwinter Swimmers doles out discreet edification; Peris is no preacher or proselytizer. She’s instead like a solicitous follower who does her part by keeping the sacristy tidy or straightening bibles in hymnal racks: creating a welcoming space for those seeking comfort.'

David Ackles - American Gothic: 'Ackles recorded four albums over a five-year period, garnering critical acclaim without achieving consequent sales, before losing his contract and choosing (pragmatically, though perhaps reluctantly) to use his creativity in fields other than popular music ... Ackles ‘lived a good life and made some great records’, yet they were records that overwhelmingly dealt with what is dark and difficult in life ... as Michael Baker has noted, Ackles and his vignettes of dispossessed personae: ‘set the stage for blurred epiphanies, an ironic fusion of baseless ritual and superficial decorum. These pockets of darkness contain paralysis, vagueness, and thwarted ambitions … Although … the characters are inarticulate carnage of that universe, Ackles retains dignity for himself, his characters, and their landscapes, by renouncing censure. We are all flawed; we have all fallen.’ ... Ackles’ storytelling songs demonstrate an incarnational ‘being with’ approach to his characters (‘We are all flawed; we have all fallen’), while the cumulative picture painted is of the bleakness of a world which has, as with the stunning ‘His Name is Andrew’, lost its connection with God.

After the Fire - Bright Lights: 'After the Fire live played a noisy, high speed new wave pop that never quite translated to record, although at times it came close. Clearly there was a desire for commercial success at play, courtesy CBS/Epic, Mack and some band members, but also room for a genuine place in the rock world, as evidenced by the positive response from Van Halen and their fans. If the sometimes questionable fashions the band at times adopted or the sustained interest in space travel as a metaphor reveals the music’s age, the songs on show here are quirky, energetic and inventive, keyboard or guitar led music that can proudly hold its head up alongside its musical neighbours from the time. The bright lights might have eluded the band, but now we can all hear what we missed out on at the time.'

Deacon Blue - The Great Western Road: '‘The Great Western Road’ itself is about the need for new challenges and experiences. Memories prove important on the journey, whether celebrating moments of exhilaration (‘Late ’88’) or awareness of the necessity of always moving on (‘How We Remember It’). The journey is always undertaken ‘Underneath The Stars’, which provide a consistent backdrop and point of orientation. ‘The Curve of the Line’ is what is followed for direction, with God, the Devil, and other people encountered. In all the confusion of change and movement ‘People Come First’, as the anthemic third track reminds us. Relationships are central to getting through and so awareness of death approaching and leaving one of a couple to cope on their own is the final challenge (‘If I Lived on My Own’). Much of life – it’s vicissitudes and joys – is compelling gathered up and explored here on what is a great, late album.'

My previous Top Ten's can be found here - 2024, 2023, 2022, 2021, 2020, 2019, 2018, 2017, 2016, 2015, 2014, 2013 and 2012.

My co-authored book ‘The Secret Chord’ is an impassioned study of the role of music in cultural life written through the prism of Christian belief. Order a copy from here.

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John Davis - Stained Glass Window.

Visual Commentary on Scripture - Holy Family

This year, the Advent programme from the Visual Commentary on Scripture has had a slightly different look than those from previous years. Instead of daily emails for the duration of Advent, they sent their Exhibition of the Week subscribers an email every Monday from December 1st, with links to seven different works of art and commentaries for each day of the week. The idea was to think of it as a traditional Advent calendar! Each of the four weeks has had a different theme, starting with Hope, then Peace, followed by Joy, and ending with Love in the week of Christmas.

Anyone subscribed to their Exhibition of the Week received the weekly Advent emails. Their hope was that we enjoyed journeying towards Christmas with the help of these works of art. Sign up here for their Exhibition of the Week email.

The first week's commentaries included 'To Our Hopes', one of the commentaries from my exhibition 'A Question of Faith' while the image chosen for Christmas Day is from my most recent exhibition for VCS.  Reflecting on 1 Thessalonians 2:17–4:12, the exhibition is called 'Establishing the Heart' and includes works of art by Antoine Camilleri, John Reilly and Stanley Spencer. This exhibition explores how pleasing God in our everyday lives - by living quietly, minding our own affairs, and working with our hands - leads us to see life, work and art as prayer. The image chosen for Christmas Day is John Reilly's 'Holy Family'.

John Reilly’s ambition was "always been to paint a picture which perfectly weds form and content” in order “to express in visible form the oneness and unity of [the] invisible power binding all things into one whole.” I was fortunate enough to meet him at his home on the Isle of Wight, while there on a family holiday. I didn’t know of his work before going on that holiday but found cards and prints of his amazing work in some of the shops there and had to find out more. He was kind enough to invite me into his home and show me his work and works in progress.

He has said: "My paintings are not concerned with the surface appearance of people or things but try to express something of the fundamental spiritual reality behind this surface appearance. I try to express in visible form the oneness and unity of this invisible power, binding all things into one whole. I try to express something of the universal and timeless truths behind the stories of the Bible.”

So, for Reilly, the unseen reality manifests itself both through pattern - “the oneness and unity of this invisible power, binding all things into one whole” - and through story - “the universal and timeless truths behind the stories of the Bible”. He has also used the greater freedom of expression that modern movements in art have given to artists to develop a visual language of forms and colours which he hopes expresses “something of their deeper spiritual significance.” His work draws on cubism, fauvism and orphism in particular.

Reilly has made a profound use of the circle in his work in order to depict the wholeness that he finds in the world and the life that God has created. He frequently bases his works on a central circle (often, the sun) from which facets of colour emanate, like ripples on the surface of a stream. The painting’s imagery is then set within these facets, each figure or object being embedded in the overall patterning of the painting and related to the environmental whole that Reilly creates.

By these means fragments of form and colour (the facets of the painting’s patterning) and the images that they contain are united to circle harmoniously around and within God, the central life and intelligence which is the light of the world. Works such as ‘Life Eternal’ utilise these methods and meanings and both contain and convey huge energy and resolution as a result.

His technique of colour fragments emanating from a central source enables him to suggest that his archetypal images of creation and the landscape are both, filled with the emanating rays and linked by them into a unified circle. His paintings (including 'Life Eternal’) therefore suggest the way in which we are linked both by being the creation of God and by being indwelt by his spirit.

The obituary I wrote for Reilly and my review of 'The Painted Word: Paintings by John Reilly' can both be found in the 'Church Times' Digital Archive.  

This Autumn, the VCS also launched Bible and Art Daily, a new daily email exploring the Bible through art. Through concise but vivid day-by-day encounters, it takes you on a series of journeys through the world of Scripture and the history of art. The VCS have spent the last year bringing together experts in theology and art history to carefully curate a treasury of week-long series, each exploring a particular theme, an artistic medium, or a biblical character. Find out more and subscribe here.

Two of the commentaries I have written for the VCS have featured in a Bible and Art Daily episode so far. The first, 'Yet To Come', featured in the series on 'Picturing the Trinity'. This commentary, like 'To our Hopes', comes from my exhibition 'A Question of Faith' which 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.

'Picturing the Trinity' is described as follows: 'There are perils and peculiarities involved in visually depicting the Holy Trinity. Christianity insists that divinity is invisible, even if Jesus in his humanity reveals God’s purposes and presence. And the Bible’s multiplicity of images of what God might be ‘like’ forbid settling on any one as descriptively adequate. Some visual art has risked anthropomorphizing God; some has experimented with oblique or abstract modes of signification, recognizing that God ‘dwells in unapproachable light, whom [no one] has ever seen or can see’ (1 Timothy 6:16).'

The second commentary used that I have written has been included in the Series 'Trees of Life'. Episode 7 of 14: 'The Ground of Rebirth' has artwork by Arthur Boyd from my 'Back from the Brink' on Daniel 4. The image included is 'Nebuchadnezzar's Dream of the Tree'. The 'Trees of Life' Series is described as follows: 'The Christian story of salvation begins and ends with trees. The forbidden fruit of the Tree of the Knowledge of Good and Evil in Eden, once eaten, initiates a long pilgrimage through time, which will culminate in a heavenly city with a tree at its heart, whose leaves are ‘for the healing of the nations’.'

The VCS is a freely accessible online publication that provides theological commentary on the Bible in dialogue with works of art. It helps its users to (re)discover the Bible in new ways through the illuminating interaction of artworks, scriptural texts, and commissioned commentaries. The virtual exhibitions of the VCS aim to facilitate new possibilities of seeing and reading so that the biblical text and the selected works of art come alive in new and vivid ways.

Each section of the VCS is a virtual exhibition comprising a biblical passage, three art works, and their associated commentaries. The curators of each exhibition select artworks that they consider will open up the biblical texts for interpretation, and/or offer new perspectives on themes the texts address. The commentaries explain and interpret the relationships between the works of art and the scriptural text.

Find out more about the VCS, its exhibitions and other resources through a short series of HeartEdge workshops introducing the VCS as a whole and exploring particular exhibitions with their curators. These workshops can be viewed here, here, here and here.

My exhibitions for the VCS are:

'Back from the Brink' on Daniel 4: 'Immediately the word was fulfilled upon Nebuchadnezzar. He was driven from among men, and ate grass like an ox, and his body was wet with the dew of heaven till his hair grew as long as eagles’ feathers, and his nails were like birds’ claws.' (Daniel 4:33). In the exhibition I explore this chapter with William Blake's 'Nebuchadnezzar', 1795–c.1805, Arthur Boyd's 'Nebuchadnezzar's Dream of the Tree', 1969, and Peter Howson's 'The Third Step', 2001.

My second exhibition was 'A Question of Faith' and explored Hebrews 11 through the paintings of New Zealand artist Colin McCahon. McCahon is widely recognised as New Zealand’s foremost painter. Over 45 years, his work encompassed many themes, subjects and styles, from landscape to figuration to abstraction and an innovative use of painted text. His adaption of aspects of modernist painting to a specific local situation and his intense engagement with spiritual matters, mark him out as a distinctive figure in twentieth-century art.

'Fishers of People' which uses Damien Hirst's 'Isolated Elements Swimming in the Same Direction for the Purpose of Understanding (Left) and (Right)', John Bellany's 'Kinlochbervie', and Paul Thek's 'Fishman in Excelsis Table' to discuss Matthew 4:12-22 and Mark 1:14-20. These artworks give us what is essentially a collage of the kingdom whereby we are invited to imagine the kingdom of God as a body of water in which Christians are immersed and through which they are raised.

'Before the Deluge', a series of climate-focused commentaries on Genesis 6 looking at 'The Flood' by Norman Adams, 'Noah in the Ark and a Church' by Albert Herbert, and 'Noah's Ark' by Sadao Watanabe.

Reflecting on 1 Thessalonians 2:17–4:12, 'Establishing the Heart' includes works of art by Antoine Camilleri, John Reilly and Stanley Spencer. This exhibition explores how pleasing God in our everyday lives - by living quietly, minding our own affairs, and working with our hands - leads us to see life, work and art as prayer.

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Over The Rhine - The First Noel.

The Bus Stop Nativity

Here's the sermon that I have shared at Emmanuel, Billericay, and St Catherine’s Wickford this evening:

This Christmas, a specially commissioned painting of the nativity, set in a freezing bus shelter, that was originally displayed at bus shelters across the UK throughout December, has been reused and redisplayed by churches across the country.

The painting is by Royal Academy Gold medal winner, Andrew Gadd and depicts the holy family, with halos, in a dark bus shelter. The shepherds and wise men are replaced with fellow passengers waiting for a bus. Some are watching the nativity intently; others appear oblivious and are checking the bus timetable and flagging down a bus.

Speaking on the occasion of its original use, Francis Goodwin, the Chair of Churches' Advertising Network, said: "We are very used to the Renaissance image of the Nativity. But what would it look like if it happened today? Where would it take place? We want to challenge people to make them reassess what the birth of Jesus means to them.”

Andrew Gadd, the artist, answered that question by setting the nativity in a bus stop. He explained that: "At first I didn't like the idea of painting a nativity scene in an urban setting. However, once it was explained that it was to be designed for bus stops, it gave me an idea... this idea. The bus stop when simplified is like a stable. It is after all a shelter; a place people go to but never want to be. So where better to stage a nativity? How unlikely!”

The details of the Christmas story — the visit of the angel to a poor Jewish girl, the humble occupation of the man to whom she was betrothed, the birth in a manger, the visit of the shepherds — are unlikely but not in terms of being out of the ordinary; instead they are unlikely precisely because they were ordinary.

Paul Richardson reminds us that: “In the ancient world, gods were seen as superior to human beings but they remained alongside them, fighting with them, tricking them or sleeping with them ... When Homer wrote his epic poems, he wrote of kings and warriors, not ordinary people. Aristotle admired the kind of superior people who had the wealth and leisure to reflect and take part in the government of the state. Such people did not soil their hands with work. Ordinary, everyday work was left to slaves, an unimportant class of people whose job it was to free the aristocratic elite to get on with things that really mattered.

How different the gospels are. In the words of the literary critic, Eric Auerbach: “Christ has not come as a hero and king but as a human being of the lowest social station. His first disciples were fishermen and artisans. He moved in the everyday milieu of humble folk. He talked with publicans and fallen women, the poor and the sick and children.”

As the Canadian philosopher, Charles Taylor, has noted, as a consequence of Christianity people began to view the world from the perspective of ordinary human beings. It took time for the implications of this radical development to become apparent (we are still in the process of working things out), but it led eventually to the abolition of slavery, the extension of the vote to all adults, and the view that government should exist for the benefit of everyone, not just of the rich and powerful.

This focus on ordinary people is what the bus stop nativity reminds us of. It reminds us ultimately that Jesus was born to be Emmanuel – God with us. That is what the incarnation, “the union of the human and the divine in the life of a humble Jewish carpenter,” is all about. As John 1. 14 says, in the contemporary translation of the Bible called The Message: “The Word became flesh and blood and moved into the neighbourhood.”

Through Christ’s birth, God has entered our world and moved into our neighbourhood. In Christ, God has identified with us by becoming one of us. The entire movement of the Bible - from God walking with Adam and Eve in the Garden of Eden, through God having a tent (the tabernacle) and then a house (the Temple) so he could live with the Israelites - leads up to this moment in history when God becomes flesh and blood and enters our world. That is why Jesus is called Emmanuel which means God is with us.

What does it mean for God to be with us in the way? It means that God becomes one of us. He becomes a human being experiencing the whole trajectory of human existence from conception through birth, puberty, adulthood to death including all that we experience along the way in terms of relationships, experiences, emotions and temptations.

Through his experience as a human being God understands us in ways that he could not if he had remained solely as our Creator. The letter to the Hebrews puts this well: “Since the children [meaning ourselves; all human beings] are flesh and blood, Jesus himself became like them and shared their human nature … he had to become like his brothers and sisters in every way … And now he can help those who are tempted, because he himself was tempted and suffered.”

This is what we find when we reassess what the nativity means. It what the bus stop nativity reminds us of and, as Paul Richardson, reminds us it is a major way in which Christianity marked a break with Greece and Rome: “The message of Christmas is that … it is the incarnation, the union of the human and the divine in the life of a humble Jewish carpenter, that transformed our understanding of the significance of ordinary, everyday life and led ultimately to a world where it is possible to talk of human rights and even of the fundamental equality of all human beings.”

The then Archbishop of Canterbury, Rowan Williams, when he visited one of the Bus Stop Nativity posters made just this point when he said that: "Jesus, the Son of God, … knew what it meant to be without wealth, he knew what it meant to grow up disadvantaged, he knew what it meant to turn to God in prayer, faith and hope.” And so, he hoped that this image of the Holy Family, in a contemporary setting, would move those who see it “to stop, pray and reflect on what the birth of Jesus means to them in their daily lives."

Look again at the image of the bus stop nativity that you have in your hands. A bus stop is a place that all of us go to. We are there, included in the image. Are we among those who are watching the nativity intently or are we oblivious, checking the bus timetable and flagging down a bus? What does it mean to us that God has become flesh and blood and has moved into our neighbourhood? This Christmas, will we stop, pray and reflect on what the birth of Jesus means to us in our daily lives? May it be so for each one of us. Amen.

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Bruce Cockburn - Cry Of A Tiny Babe.

Seen and Unseen - When Henry Moore’s Madonna shocked Northampton

My latest article for Seen and Unseen is 'When Henry Moore’s Madonna shocked Northampton' in which I explore how a modernist mother and child stirred outrage, then lasting wonder:

'On the throne of Mary’s oversized legs and feet Jesus is vulnerable but protected and Mary’s ‘head is turned slightly to the right and she looks into the distance, acknowledging his role in salvation’. Her gaze ‘points forward into the distance, envisioning perhaps what this child is to become’. In other words, ‘She offers him to all ages and to all people who shall come to him’ as, ‘Apart from God, he is also her gift to the world.’'

For more seasonal Seen and Unseen articles see here for my piece on the art of Christmas cards and here for my piece on angels. For more on St Matthew's Northampton and its artworks, 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.

My 37th article was based on the exhibition series 'Can We Stop Killing Each Other?' at the Sainsbury Centre. In it I explore how art, theology, and moral imagination confront our oldest instinct.

My 38th article article was 'The dot and the dash: modern art’s quiet search for deeper meaning' in which I argue that Neo-Impressionism meets mysticism in a quietly radical exhibition at the National Gallery.

My 39th article was 'From Klee to Klein, Wenders to Botticelli: angels unveiled' in which I explore how, across war, wonder and nativity, artists show angels bridging earth and heaven.

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Mary, Blessed Teenage Mother.

Visual Commentary on Scripture - Advent: Hope, Peace, Joy, and Love & Bible and Art Daily

This Autumn, the Visual Commentary on Scripture launched Bible and Art Daily, a new daily email exploring the Bible through art. Through concise but vivid day-by-day encounters, it takes you on a series of journeys through the world of Scripture and the history of art. The VCS have spent the last year bringing together experts in theology and art history to carefully curate a treasury of week-long series, each exploring a particular theme, an artistic medium, or a biblical character. Find out more and subscribe here.

Two of the commentaries I have written for the VCS have featured in a Bible and Art Daily episode so far. The first, 'Yet To Come', featured in the series on 'Picturing the Trinity'. This commentart comes from my exhibition 'A Question of Faith' which 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.

'Picturing the Trinity' is described as follows: 'There are perils and peculiarities involved in visually depicting the Holy Trinity. Christianity insists that divinity is invisible, even if Jesus in his humanity reveals God’s purposes and presence. And the Bible’s multiplicity of images of what God might be ‘like’ forbid settling on any one as descriptively adequate. Some visual art has risked anthropomorphizing God; some has experimented with oblique or abstract modes of signification, recognizing that God ‘dwells in unapproachable light, whom [no one] has ever seen or can see’ (1 Timothy 6:16).'

The second commentary used that I have written has been included in the Series 'Trees of Life'. Episode 7 of 14: 'The Ground of Rebirth' has artwork by Arthur Boyd from my 'Back from the Brink' on Daniel 4. The image included is 'Nebuchadnezzar's Dream of the Tree'. The 'Trees of Life' Series is described as follows: 'The Christian story of salvation begins and ends with trees. The forbidden fruit of the Tree of the Knowledge of Good and Evil in Eden, once eaten, initiates a long pilgrimage through time, which will culminate in a heavenly city with a tree at its heart, whose leaves are ‘for the healing of the nations’.'

This year, the Advent programme from the VCS has had a slightly different look than those from previous years. Instead of daily emails for the duration of Advent, they have sent their Exhibition of the Week subscribers an email every Monday from December 1st, with links to seven different works of art and commentaries for each day of the week. The idea is to think of it as a traditional Advent calendar! Each of the four weeks has had a different theme, starting with Hope, then Peace, followed by Joy, and ending with Love in the week of Christmas.

Anyone subscribed to their Exhibition of the Week receives the weekly Advent emails. Their hope has been that we enjoy journeying towards Christmas with the help of these works of art. Sign up here for their Exhibition of the Week email.

The first week's commentaries included 'To Our Hopes', another of the commentaries from my exhibition 'A Question of Faith'. The most recent email reveals that the image chosen for Christmas Day is from my most recent exhibition for VCS.  Reflecting on 1 Thessalonians 2:17–4:12, the exhibition is called 'Establishing the Heart' and includes works of art by Antoine Camilleri, John Reilly and Stanley Spencer. This exhibition explores how pleasing God in our everyday lives - by living quietly, minding our own affairs, and working with our hands - leads us to see life, work and art as prayer. The image chosen for Christmas Day is John Reilly's 'Holy Family'.

John Reilly’s ambition was "always been to paint a picture which perfectly weds form and content” in order “to express in visible form the oneness and unity of [the] invisible power binding all things into one whole.” I was fortunate enough to meet him at his home on the Isle of Wight, while there on a family holiday. I didn’t know of his work before going on that holiday but found cards and prints of his amazing work in some of the shops there and had to find out more. He was kind enough to invite me into his home and show me his work and works in progress.

He has said: "My paintings are not concerned with the surface appearance of people or things but try to express something of the fundamental spiritual reality behind this surface appearance. I try to express in visible form the oneness and unity of this invisible power, binding all things into one whole. I try to express something of the universal and timeless truths behind the stories of the Bible.”

So, for Reilly, the unseen reality manifests itself both through pattern - “the oneness and unity of this invisible power, binding all things into one whole” - and through story - “the universal and timeless truths behind the stories of the Bible”. He has also used the greater freedom of expression that modern movements in art have given to artists to develop a visual language of forms and colours which he hopes expresses “something of their deeper spiritual significance.” His work draws on cubism, fauvism and orphism in particular.

Reilly has made a profound use of the circle in his work in order to depict the wholeness that he finds in the world and the life that God has created. He frequently bases his works on a central circle (often, the sun) from which facets of colour emanate, like ripples on the surface of a stream. The painting’s imagery is then set within these facets, each figure or object being embedded in the overall patterning of the painting and related to the environmental whole that Reilly creates.

By these means fragments of form and colour (the facets of the painting’s patterning) and the images that they contain are united to circle harmoniously around and within God, the central life and intelligence which is the light of the world. Works such as ‘Life Eternal’ utilise these methods and meanings and both contain and convey huge energy and resolution as a result.

His technique of colour fragments emanating from a central source enables him to suggest that his archetypal images of creation and the landscape are both, filled with the emanating rays and linked by them into a unified circle. His paintings (including 'Life Eternal’) therefore suggest the way in which we are linked both by being the creation of God and by being indwelt by his spirit.

The obituary I wrote for Reilly and my review of 'The Painted Word: Paintings by John Reilly' can both be found in the 'Church Times' Digital Archive.  

The VCS is a freely accessible online publication that provides theological commentary on the Bible in dialogue with works of art. It helps its users to (re)discover the Bible in new ways through the illuminating interaction of artworks, scriptural texts, and commissioned commentaries. The virtual exhibitions of the VCS aim to facilitate new possibilities of seeing and reading so that the biblical text and the selected works of art come alive in new and vivid ways.

Each section of the VCS is a virtual exhibition comprising a biblical passage, three art works, and their associated commentaries. The curators of each exhibition select artworks that they consider will open up the biblical texts for interpretation, and/or offer new perspectives on themes the texts address. The commentaries explain and interpret the relationships between the works of art and the scriptural text.

Find out more about the VCS, its exhibitions and other resources through a short series of HeartEdge workshops introducing the VCS as a whole and exploring particular exhibitions with their curators. These workshops can be viewed here, here, here and here.

My exhibitions for the VCS are:

'Back from the Brink' on Daniel 4: 'Immediately the word was fulfilled upon Nebuchadnezzar. He was driven from among men, and ate grass like an ox, and his body was wet with the dew of heaven till his hair grew as long as eagles’ feathers, and his nails were like birds’ claws.' (Daniel 4:33). In the exhibition I explore this chapter with William Blake's 'Nebuchadnezzar', 1795–c.1805, Arthur Boyd's 'Nebuchadnezzar's Dream of the Tree', 1969, and Peter Howson's 'The Third Step', 2001.

My second exhibition was 'A Question of Faith' and explored Hebrews 11 through the paintings of New Zealand artist Colin McCahon. McCahon is widely recognised as New Zealand’s foremost painter. Over 45 years, his work encompassed many themes, subjects and styles, from landscape to figuration to abstraction and an innovative use of painted text. His adaption of aspects of modernist painting to a specific local situation and his intense engagement with spiritual matters, mark him out as a distinctive figure in twentieth-century art.

'Fishers of People' which uses Damien Hirst's 'Isolated Elements Swimming in the Same Direction for the Purpose of Understanding (Left) and (Right)', John Bellany's 'Kinlochbervie', and Paul Thek's 'Fishman in Excelsis Table' to discuss Matthew 4:12-22 and Mark 1:14-20. These artworks give us what is essentially a collage of the kingdom whereby we are invited to imagine the kingdom of God as a body of water in which Christians are immersed and through which they are raised.

'Before the Deluge', a series of climate-focused commentaries on Genesis 6 looking at 'The Flood' by Norman Adams, 'Noah in the Ark and a Church' by Albert Herbert, and 'Noah's Ark' by Sadao Watanabe.

Reflecting on 1 Thessalonians 2:17–4:12, 'Establishing the Heart' includes works of art by Antoine Camilleri, John Reilly and Stanley Spencer. This exhibition explores how pleasing God in our everyday lives - by living quietly, minding our own affairs, and working with our hands - leads us to see life, work and art as prayer.

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Arvo Pärt - Christmas Lullaby.

Mary's fiat

Here's the sermon I shared at St Catherine’s Wickford and St Gabriel’s Pitsea this morning:

The Revd Matthew Askey has said of Mary: “Mary, the mother of Jesus, who is one of the most significant, but neglected, figures in our shared cultural story. Mary was remarkable for the time and she has many things to show us and inspire us with today. She was an unmarried teenage mother, on the run, a refugee really, and at the same time through both her vulnerability and her determined strength she embodies so many positive characteristics of motherhood and what it means to be a woman today. Mary ultimately said ‘yes!’ to life, and gave herself into the hands of God’s love, and this is something that resulted in the life of the most inspiring person who has ever lived, Jesus, and then the birth of the world-wide Church that followed. The Church has 2 billion members today world-wide, is still growing, and about 32% of the world’s population are involved in some way with its acts of charity and life-transforming message of forgiveness and love for all people. Mary is right at the root and start of this movement of love.”

Mary was engaged to Joseph when the annunciation occurred. As she was found to be with child before they lived together, Joseph planned to dismiss her quietly. He had his own meeting with Gabriel which changed that decision but, if the man to whom she was betrothed, could not believe her without angelic intervention, then it would be no surprise if disbelief and misunderstanding characterised the response to Mary wherever she went.

We can learn much from Mary’s faith, trust and persistence in the face of disbelief, misunderstanding and probable insult. Our experience in times of trouble and difficulty will be similar as, on the one hand, God asks us to trust and persevere while, on the other, he will provide us with moments of support and strengthening. So, let’s look at some of her experience in more detail.

‘Here am I, the servant of the Lord,’ said Mary, ‘let it be with me according to your word.’ Mary said ‘Yes’ to God. As we have already begun to reflect, there is much more to saying that simple one syllable word ‘yes’ than we might at first imagine.

The poet-priest Malcolm Guite describes the Annunciation as follows:

‘a young girl stopped to see
With open eyes and heart. She heard the voice;
The promise of His glory yet to be,
As time stood still for her to make a choice;
Gabriel knelt and not a feather stirred,
The Word himself was waiting on her word.’

Victoria Emily Jones has reflected that ‘When Gabriel came to Mary to tell her she would bear a son, she was at first troubled, afraid, guarded. How was it possible that she, being a virgin, could become pregnant? But with the angel’s words of reassurance and promise, she yielded to the divine plan …” This is known as Mary’s fiat (Latin for “let it be”)—her consent to become the mother of God—and it’s celebrated by the church as the moment at which God became flesh, setting salvation in motion.

Theologians have debated the nature of Mary’s fiat—whether she really had a choice in the matter. After all, Gabriel comes speaking in terms of what will happen, without mentioning any conditions. However, most believe in the criticality of Mary’s “yes,” of her willing bodily and spiritual surrender. Between the angel’s ‘Hail’ and Mary’s ‘Let it be’ was a moment of supreme tension, one that Luci Shaw explores in her poem ‘The Annunciatory Angel’:

‘… We worry that she might faint.
Weep. Turn away, perplexed and fearful
about opening herself. Refuse to let the wind
fill her, to buffet its nine-month seed into her earth.
She is so small and intact. Turmoil will wrench her.
She might say no.’’

Why might Mary have said ‘No’? In the same poem Luci Shaw suggests there was a ‘weight of apprehension’ at the Annunciation because what had to be announced would ‘not be entirely easy news.’ As a result, Alan Stewart, in an Annunciation monologue, has Mary say ‘I said yes to my God / And I have come to question those words / For I did not know where they would lead’:

It was a day like any other day
Kneading bread. Lost in my thoughts
And then from behind
This light
An amazing light that filled the room
I turned round, holding my hand to my eyes
Backing away from it
And from inside this light, the figure of a man
Standing there. Looking at me
I felt I should run
I wanted to run
But his gaze fixed me to the spot
Like some rabbit charmed by a fox
But actually
His eyes were kind
And I felt strangely safe
‘is this an angel?’ I suddenly thought
have I sinned?
Has he mistaken me for someone?
Someone of importance
And then he spoke
‘Mary’
he knew my name
‘Mary’, he said ’don’t be afraid’
‘I have news for you’
‘in 9 months you will have a child and you are to call him Jeshua; God saves’
before I knew it, I was speaking
‘but I’m not married yet, I don’t…’
‘the child will be fathered by the Holy Spirit and he will save his people
the lord God will give him the throne of his father David’
the Saviour?, the Messiah?
I knelt down
And whispered
Simply
‘may it be to me as you have said’
I said yes
I said yes to my God
And I have come to question those words
For I did not know where they would lead

Where they led was to an immediate future of gossip, rumours and insult from those who thought of Jesus as illegitimate and in the longer term to a life of gathering gloom, ultimately one of sorrowing and sighing before a stone-cold tomb after the experience of viewing her son’s torture and cruel death; which was like a sword piercing her heart.

And yet, although she did not know it and could not have articulated it, there is a sense that she accepted all this when she accepted the challenge that the angel Gabriel brought from God. It may also have been that for having Jesus as her son she was, like many parents, more than glad that she had said yes, accepting the trauma, the gossip, the exile, the insults that she might bear her child, the promised Saviour.

Mary could have said ‘No’ but her ‘Yes’ was a ‘Yes’ to new life, to growth, to new birth. As we have already noted, Matthew Askey says that: ‘Mary ultimately said ‘yes!’ to life, and gave herself into the hands of God’s love, and this was something that resulted in the life of the most inspiring person who has ever lived, Jesus, and then the birth of the world-wide Church that followed. The Incarnation was predicated on the willingness of the teenage Mary to respond to God’s call.’ Mary, he says, is right at the root and start of this movement of love. This means that every act of Mary is an act of love:

Love is saying yes to God without knowing what that choice entails.

Love is waiting for your man to realise that what you have said is true and to support you.

Love is enduring the arch looks and snide comments from those who know you are bearing a child conceived out of wedlock.

Love is support from your cousin, your child leaping in your womb, and your magnifying God.

Love is enduring the discomfort of travel to your husband’s hometown when you are close to full-term.

Love is accepting a stable when there is no room at the inn.

Love is laying your newborn child in a manger when there are no extended family around to support you.

Love is being welcoming when shepherds unexpectedly arrive in the night soon after you’ve given birth.

Love is treasuring all their words and pondering them in your heart.

Love is giving your child the name an angel requested.

Love is fleeing to another country knowing that the life of your newborn child is under threat.

Love is making a life to bring up your child separated from friends and family.

Love is saying yes to God without knowing what that choice would entail
and it is that choice which creates a cannonball of love that,
from that first Christmas ever onwards,
explodes love throughout the Universe and in us.

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The Angel Gabriel from heaven came.

Windows on the world (550)

London, 2025

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Bruce Springsteen - Rocky Ground.

Seven Good Joys of Mary

Here's the homily that I shared tonight in the Beauchamps High School Carol Service held at St Catherine's Wickford:

‘Seven Good Joys’ is a traditional carol about Mary's happiness at moments in the life of Jesus, probably inspired by the Seven Joys of the Virgin in the devotional literature and art of Medieval Europe. I came across this carol through its inclusion on Kate Rusby’s excellent Christmas album While Mortals Sleep.

The carol has a simple, repetitive but beautiful structure:

“The first good joy that Mary had,
It was the joy of one
To see her blessed Jesus
When He was first her Son.
When He was Her first Son, Good Lord;
And happy may we be,
Praise Father, Son, and Holy Ghost
To all eternity”

That structure is repeated for all seven joys. There are different British and US versions of the carol which taken together give more than seven joys but the basic joys of Mary of which the carol speaks are to see her own Son Jesus: suck at her breast bone; make the lame to go; make the blind to see; read the Bible o'er; bring the dead alive; upon the crucifix; and wear the crown of heaven.

These seven joys take us from the nativity of Christ (suck at her breast bone) through his ministry (make the lame to go; make the blind to see; read the Bible o'er; bring the dead alive) to his death (upon the crucifix), and on to his resurrection and ascension (wear the crown of heaven).

Part of the reason this carol resonates, besides its beauty, is that it links Christmas with Jesus’ life, death, and resurrection. It even dares to list the Crucifixion as one of Mary’s joys, an incomprehensible idea unless viewed with the eyes of faith.

So the singing of a carol like this can help us more fully explain the meaning of Christmas and save it from mere sentimentality because, as the carol describes, Christ is born into our world to save us by his life, death, and resurrection. That is the ultimate lesson of every true Christmas tradition and the source of all our joys as Christians, as well as those of Mary. May that be our experience this Christmas as we sing carols and hear, once again, the Christmas story told.

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Fine Lads feat. Randy Matthews - Seven Joys of Mary.

Artlyst - Critics’ Choice: Best UK Art Exhibitions 2025

Artlyst recently asked their critics, including myself, to choose three standout UK exhibitions. The results have been published today in an article entitled 'Critics’ Choice: Best UK Art Exhibitions 2025':

Paul Carter Robinson, Artlyst Editor, writes: 'Looking back at 2025, the standout UK Art Exhibitions show that there wasn’t a single aesthetic or tidy narrative linking everything together.

This selection wasn’t created to reward an institution’s agenda. The strongest shows didn’t need to follow a curator’s perspective. They held their ground on the work displayed. They allowed complexity to surface slowly, sometimes awkwardly, without apology.' 

My reviews of the three exhibitions I chose can be found here, here, and here.

My other pieces for Artlyst are:

Interviews -

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

Monthly diary articles -

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

Articles/Reviews -

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

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Laura Cannell - Angels Falling From The Realms.