Compton, 2026
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Mumford and Sons - The Banjo Song.
Saturday, 28 February 2026
Peter Rodulfo: Waiting for a Bite
'Peter Rodulfo: Waiting for a bite' opened today at Chappel Galleries. It was good to meet Peter Rodulfo there and to see his wonderful paintings.
Peter was born in Washington D.C, USA, in 1958. His early years were spent in Australia and India before coming to England in the mid sixties. He was educated in Suffolk, before going to study painting at Norwich School of Art 1975 – 1979. Since leaving art school he has exhibited all over the world in both solo, group and open shows. Rodulfo has a prolific output in many different mediums, such as oil paint, watercolour, etching, bronze sculpture and assemblages. His work can be found in both private and public collections.
The alluring mystery of everyday life is contemplated in his work and this exhibition for which I have written the catalogue essay:
‘Watching and waiting also characterises the work of the artist in creation. Rodulfo writes of casting a line out and waiting for a bite, not knowing which creature will take the bait, because he suspects that something surprising may be lurking under the surface of his image as it emerges and coheres. Through the patient watching and waiting that the artist undertakes for that emergent something in the work, his images entice, tease and challenge us, as viewers, to pay attention to what is revealed through the interplay between the patterns of form and colour within which our interactions in creation and in community occur. The patterns of shadows, reflections, and echoes seen in these works then evoke memories from different times and places in our own lives. Life is an alluring mystery which changes and passes too quickly for us to apprehend fully. Rodulfo’s images still a moment in time, enabling us to stop, wait, and see by paying attention to the emergent something his art has revealed. What will bite, what will surface, what will emerge, what will you notice, as you watch and wait and see?’
See here for information about my catalogue essay on Alan Caine and here for information about an essay on Damien Hirst, originally written to be a catalogue essay.
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Lucinda Williams - The World's Gone Wrong.
Wednesday, 25 February 2026
Art Trail: Bishop of Chelmsford's Lent and Holy Week Pilgrimage
This year's Pilgrimage started on Thursday 25 February with a 5 mile walk, starting at St Paul's Stratford and ending at St Bartholomew's East Ham, via St Michael & All Angels' Manor Park and St Barnabas Little Ilford.
The Lent and Holy Week Pilgrimage resumes in Barking Deanery on 12 March.
These include past contributions by significant artists such as Eric Gill, Hans Feibusch, John Hutton and John Piper. In more recent years, churches continued to commission work by many important artists such as Mark Cazalet, Jane Quail and Henry Shelton together with other emerging artists who are now coming to prominence.
Work on the Art Trail was initiated by commission4mission, an arts organisation that encouraged churches to commission contemporary art, with the hope of increasing interest and stimulating engagement with the visual arts in the service of contemporary Christian faith.
A leaflet documenting the Art Trail, which was researched and developed by commission4mission member, artist and Fine Arts lecturer, Mark Lewis, publicised the Trail and provides information about the featured artists and churches. The leaflet included a map showing the churches featured on the Trail together with contact details, so that visits to one or more churches could be planned in advance.
Mark Lewis’ brief was to research commissioned art and craft in the Episcopal Area from the past 100 years. While stained glass is the dominant Ecclesiastical art form, he was also concerned to show a diversity and variety of media and styles within the selections made. He highlighted works such as the significant mosaic by John Piper at St Paul’s Harlow and the striking ‘Spencer-esque’ mural byFyffe Christie at St Margaret’s Standford Rivers. Churches with particularly fine collections of artworks included: St Albans, Romford; St Andrew’s Leytonstone; St Barnabas Walthamstow; St Margaret’s Barking; St Mary’s South Woodford;; and, the church chosen as the location for the launch event, St Paul’s Goodmayes.
The Trail was launched at St Pauls Goodmayes on Thursday 17th February by the Bishops of Chelmsford and Barking. At the launch event, The Rt. Revd. Stephen Cottrell, Bishop of Chelmsford, said: “I do not know what other art form could convey and hold the possibility of converging in so many layers. Not just do the visual arts comment on biblical narrative, but they illuminate it in a way that written or spoken forms cannot, being linear forms. Art opens windows on a set of concepts and ideas and brings them together. These windows offer a fresh perspective onto the faith we share, that other forms simply cannot.”
The Bishop of Barking stated that: “Our inspiration for understanding Christianity comes from the visual arts … The visual arts continue to be an important way of communicating our faith. Words are not enough to express the breadth, depth and height of what we want to communicate. It’s then that the visual arts express what we want to communicate.
God knew that: for centuries he relied on the words of the prophets and then he realized that he needed to send his Son to communicate in ways that words could not, the breadth, depth and height of his love. The word became flesh: the most beautiful living sculpture ever created – Jesus Christ.”
There are many interesting artworks to be found in the Diocese of Chelmsford; a fact I have been involved in highlighting previously through art trails in the Barking Episcopal Area - see here, here, here, here, here, here, here, here, here, and here. Most recently, I have included a listing of artworks to be found in the Basildon Deanery here and the Wickford and Runwell Team Ministry here and here. See also my post about artists in Broomfield - here. On the back of these and other sources of information, here is a partial listing of artists with work which can be found in churches within the Diocese of Chelmsford can be found here.
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Van Morrison - Hymns to the Silence.
Letting go and letting God
Here's the sermon that I shared at St Andrew's Wickford this morning:
Steve Turner’s poem ‘History Lesson’ is simple, short and blunt:
History repeats itself.
Has to.
No-one listens.
Why is conflict so much a part of our human existence? Why, despite the devastation and loss of life that we saw in two World Wars, does it still seem that we are so far from the ability to live in peace with one another? I want to suggest a partial answer to us using the story of Jonah (Jonah 3).
The story is both well-known and relatively simple. Jonah is tasked by God with preaching to the Ninevites but instead turns tail and takes a ship heading in the opposite direction. A violent storm leads the sailors to throw Jonah overboard. The storm then calms and Jonah is swallowed by a great fish. Inside the fish Jonah repents and, once spewed out onto dry land, travels to Ninevah where he delivers the message God gave him. The Ninevites hear him, repent and are saved from disaster. Jonah is angry with God because the Ninevites are the enemies of the people of Israel and so he wanted them destroyed.
That hatred of the Ninevites was the reason why Jonah rejected God’s call on his life and took a ship in the opposite direction to the place God had wanted him to go. Protection of his people - the people of Israel - by the destruction of their enemies - the Ninevites - was more important to him than doing God’s will. Jonah was angry with God because he thought God should only be on the side of and care for his people and, therefore, he wanted to try to frustrate God’s plans to save their enemies from disaster. He was angry with God because he wanted to possess God by keeping him only as the personal God of his people.
Jonah had actually completely misunderstood God’s relationship with the people of Israel and the reason for it. The choosing of the people of Israel as God’s chosen people and the gift to them of the promised land was not so that they would be protected by their own personal God in a land that was theirs to own. Instead of being their property, the promised land was a gift from God which enabled them to be a light revealing God to the nations around them. So, whenever they thought about themselves and the protection of their own possessions, they were actually wandering away from God’s will for their lives.
When Jonah did this, his lack of surrender to God’s will and God’s way caused disturbance - the storm - in his life which also affected the people around him. It was only when Jonah recognised that the storm - the disturbance in and around him - was directly connected to his lack of surrender to God’s will that the storm died down and he had time and space in which to repent and return to God’s way.
It is the same for us. When we are concerned with what we think of as ours - when we are saying this is mine, my property, my church, my nation - we are automatically anxious, worried and fearful because we are in defensive mode and we experience disturbance; disturbance which affects others because we are trying to protect what we think of as ours from those we think will take it from us. By contrast, Jesus calls us to give up our lives and let go of our possessions by handing them over to him - to let go and let God. When we genuinely do this, we find we are at peace because whatever we have and wherever we are and whatever we do is then in God’s hands - everything is his and his gift to us. We experience contentment with what we have and where we are and what we do because it is all God’s gift to us.
We read in the Letter to the Philippians, ‘I have learned to be content whatever the circumstances. I know what it is to be in need, and I know what it is to have plenty. I have learned the secret of being content in any and every situation, whether well fed or hungry, whether living in plenty or in want. I can do all this through him who gives me strength.' (Philippians 4.11-13)
Conflict and disturbance arise in our lives and in our world whenever we, like Jonah, have not surrendered to God’s will. Again, like Jonah, this occurs whenever we want to possess or protect things for ourselves, our group or our people. Instead, God calls us to let go and let God; to simply acknowledge that we own nothing, that all is God’s creation and gift. When we let go of our claim on the things around us, including our own lives, we start to genuinely trust God and learn the secret of being content in any and every situation. In this state, there is no disturbance or conflict because there is nothing to possess or protect and, therefore, we can know and share peace with others.
Jesus shows us how to do this by laying down his life for the sake of others and his resurrection reveals the new life that results. Just as he called his first disciples, so he calls us to follow in his footsteps by taking up our cross and losing our lives for his sake; letting go and letting God.
Will we be like Jonah and resist the call of God which leads to turmoil and disturbance in our lives and our world or will we be like Jesus’ disciples who gave up everything to follow him? Before deciding, we should reflect that to follow him is the way that leads to abundant, peaceful, contented and eternal life. It is as we surrender to God and to his will for our lives that we come to know his peace in our lives and are enabled to share that peace with others.
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Steve Turner’s poem ‘History Lesson’ is simple, short and blunt:
History repeats itself.
Has to.
No-one listens.
Why is conflict so much a part of our human existence? Why, despite the devastation and loss of life that we saw in two World Wars, does it still seem that we are so far from the ability to live in peace with one another? I want to suggest a partial answer to us using the story of Jonah (Jonah 3).
The story is both well-known and relatively simple. Jonah is tasked by God with preaching to the Ninevites but instead turns tail and takes a ship heading in the opposite direction. A violent storm leads the sailors to throw Jonah overboard. The storm then calms and Jonah is swallowed by a great fish. Inside the fish Jonah repents and, once spewed out onto dry land, travels to Ninevah where he delivers the message God gave him. The Ninevites hear him, repent and are saved from disaster. Jonah is angry with God because the Ninevites are the enemies of the people of Israel and so he wanted them destroyed.
That hatred of the Ninevites was the reason why Jonah rejected God’s call on his life and took a ship in the opposite direction to the place God had wanted him to go. Protection of his people - the people of Israel - by the destruction of their enemies - the Ninevites - was more important to him than doing God’s will. Jonah was angry with God because he thought God should only be on the side of and care for his people and, therefore, he wanted to try to frustrate God’s plans to save their enemies from disaster. He was angry with God because he wanted to possess God by keeping him only as the personal God of his people.
Jonah had actually completely misunderstood God’s relationship with the people of Israel and the reason for it. The choosing of the people of Israel as God’s chosen people and the gift to them of the promised land was not so that they would be protected by their own personal God in a land that was theirs to own. Instead of being their property, the promised land was a gift from God which enabled them to be a light revealing God to the nations around them. So, whenever they thought about themselves and the protection of their own possessions, they were actually wandering away from God’s will for their lives.
When Jonah did this, his lack of surrender to God’s will and God’s way caused disturbance - the storm - in his life which also affected the people around him. It was only when Jonah recognised that the storm - the disturbance in and around him - was directly connected to his lack of surrender to God’s will that the storm died down and he had time and space in which to repent and return to God’s way.
It is the same for us. When we are concerned with what we think of as ours - when we are saying this is mine, my property, my church, my nation - we are automatically anxious, worried and fearful because we are in defensive mode and we experience disturbance; disturbance which affects others because we are trying to protect what we think of as ours from those we think will take it from us. By contrast, Jesus calls us to give up our lives and let go of our possessions by handing them over to him - to let go and let God. When we genuinely do this, we find we are at peace because whatever we have and wherever we are and whatever we do is then in God’s hands - everything is his and his gift to us. We experience contentment with what we have and where we are and what we do because it is all God’s gift to us.
We read in the Letter to the Philippians, ‘I have learned to be content whatever the circumstances. I know what it is to be in need, and I know what it is to have plenty. I have learned the secret of being content in any and every situation, whether well fed or hungry, whether living in plenty or in want. I can do all this through him who gives me strength.' (Philippians 4.11-13)
Conflict and disturbance arise in our lives and in our world whenever we, like Jonah, have not surrendered to God’s will. Again, like Jonah, this occurs whenever we want to possess or protect things for ourselves, our group or our people. Instead, God calls us to let go and let God; to simply acknowledge that we own nothing, that all is God’s creation and gift. When we let go of our claim on the things around us, including our own lives, we start to genuinely trust God and learn the secret of being content in any and every situation. In this state, there is no disturbance or conflict because there is nothing to possess or protect and, therefore, we can know and share peace with others.
Jesus shows us how to do this by laying down his life for the sake of others and his resurrection reveals the new life that results. Just as he called his first disciples, so he calls us to follow in his footsteps by taking up our cross and losing our lives for his sake; letting go and letting God.
Will we be like Jonah and resist the call of God which leads to turmoil and disturbance in our lives and our world or will we be like Jesus’ disciples who gave up everything to follow him? Before deciding, we should reflect that to follow him is the way that leads to abundant, peaceful, contented and eternal life. It is as we surrender to God and to his will for our lives that we come to know his peace in our lives and are enabled to share that peace with others.
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Moby - Le Vide.
Sunday, 22 February 2026
Windows on the world (559)
Compton, 2026
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U2 - The Tears Of Things.
In God, 'You are Enough'
Here's the sermon that I shared at St Andrew's Wickford this morning and will be sharing at St Peter's Nevendon this afternoon:
Sermon: (10.00am, St Andrew’s, 22/02/26)
Standing proud in the heart of Manchester’s university district on the exterior of St Peter’s House a 22 x 13 foot billboard towered above the streets below giving a refreshingly affirming message to passing students and commuters. It said, ‘You are enough’. It would be easy to assume this is an affirmation of the kind of individualism that says ‘I’m alright, Jack’ as ‘I’m looking after No.1.’ However, as St Peter’s House is the base for the Christian chaplaincy team for the Manchester Universities and the Royal Northern College of Music, that’s unlikely to be the intended message.
The artist who created the piece, Micah Purnell, notes that, ‘Capitalist ideology aims to impart the notion that we are worthy of love and belonging - once we have bought into the product or service. Consumerism wraps things up in neat little packages and sells them as idealised gifts of perfection. Advertising props up this notion with the assumption that we are inadequate - stealing our love of ourselves, and selling it back at a price.’
He goes on to say that Brené Brown, a research Professor at Houston University, has found through extensive quantitative research that the one thing that keeps us from love and belonging is the fear that we are not worthy of love and belonging. She found that those who fully experience joy and live wholeheartedly have four characteristics in common: the courage to accept their imperfection; compassion towards themselves first; the ability to let go of who they should be in order to be who they really are, and to embrace vulnerability and unknowing. His installation, therefore, says, ‘You’re not perfect, you’re never going to be, and that’s the good news.’ You are enough, as you are.
The temptations faced by Jesus in the wilderness (Matthew 4.1-11) were all temptations to see his situation and his trust in God as being insufficient, or ‘not enough.’ His temptations began with the reality of his situation, the fact that he was hungry because of fasting for 40 days. He had not had enough food and the temptation was to say that there was not enough and use his power to create food from nowhere. Jesus responded by saying that the words of God were enough for him. The second temptation was in regard to his mission and his then obscurity. Jesus was on his own in the wilderness and was offered celebrity and fame because his obscurity was clearly not enough to achieve his mission. Jesus’ response was essentially saying that the path he was following was enough. The final temptation was linked but, instead of being focused on fame, was focused on power. Jesus’ mission was to save all humanity and he was offered power over all humanity as a shortcut to success and as recognition of the lack of power he possessed as an insignificant carpenter in a backwater of the mighty Roman Empire. Jesus responded by saying that God’s way was enough for him.
Jesus was tempted on the basis that who he was and what he had were not enough to achieve the mission he had been given. He was tempted to think of himself, his situation and God, in terms of scarcity and deficit. But deficit is not our modus operandi as Christians. We don’t have to look far for a mission statement for the church. Jesus said, ‘I came that they may have life, and have it abundantly’ (John 10.10). Living abundant life; that’s what the Father intends, the Son embodies, the Spirit facilitates.
Sam Wells, the Vicar of St Martin-in-the-Fields says that, as Christians, we are called to live in such a way that gratefully receives the abundance God is giving us, evidences the transformation from scarcity to abundance to which God is calling us, dwells with God in that abundant life, and shares that abundance far and wide.
Jesus is our model of abundant life; his life, death and resurrection chart the transformation from the scarcity of sin and death to the abundance of healing and resurrection; he longs to bring all humankind into reconciled and flourishing relationship with God, one another, ourselves and all creation.
In the middle of the wilderness where he literally had nothing, Jesus received God’s abundance, the abundant life that would sustain him throughout his journey to the cross, and beyond. Also, his time in the wilderness came immediately after his baptism where God had spoken to him saying ‘You are my own dear Son. With you I am well pleased’. God had essentially said to him then, ‘You are Enough’.
As such, we can defend ourselves against temptation as Jesus did. “As God’s children,” Tom Wright says, “we are entitled to use the same defence” as Jesus himself. “Store scripture in your heart,” he writes, “and know how to use it.” When we do, we are able to see through the temptation to think of all that we have as inadequate and, instead, to view our lives and all that we have as a gift from God knowing that, in him, we are enough.
Lent is commonly thought of as being about those things we give up but Lent is ultimately about our opening up. Opening up our lives to receive more of the abundance and the gifts that God is giving to us. In Lent, we give up some of our usual practices in order to have more time for God and to be with God. More time to open up to him and deepen our relationship with him. That was what Jesus was doing in the wilderness and, like him, we too can discover that, as we receive all that God is giving to us, God is enough, God's abundance is enough, our churches and communities are enough, and we are enough. Amen.
Sermon: (10.00am, St Andrew’s, 22/02/26)
Standing proud in the heart of Manchester’s university district on the exterior of St Peter’s House a 22 x 13 foot billboard towered above the streets below giving a refreshingly affirming message to passing students and commuters. It said, ‘You are enough’. It would be easy to assume this is an affirmation of the kind of individualism that says ‘I’m alright, Jack’ as ‘I’m looking after No.1.’ However, as St Peter’s House is the base for the Christian chaplaincy team for the Manchester Universities and the Royal Northern College of Music, that’s unlikely to be the intended message.
The artist who created the piece, Micah Purnell, notes that, ‘Capitalist ideology aims to impart the notion that we are worthy of love and belonging - once we have bought into the product or service. Consumerism wraps things up in neat little packages and sells them as idealised gifts of perfection. Advertising props up this notion with the assumption that we are inadequate - stealing our love of ourselves, and selling it back at a price.’
He goes on to say that Brené Brown, a research Professor at Houston University, has found through extensive quantitative research that the one thing that keeps us from love and belonging is the fear that we are not worthy of love and belonging. She found that those who fully experience joy and live wholeheartedly have four characteristics in common: the courage to accept their imperfection; compassion towards themselves first; the ability to let go of who they should be in order to be who they really are, and to embrace vulnerability and unknowing. His installation, therefore, says, ‘You’re not perfect, you’re never going to be, and that’s the good news.’ You are enough, as you are.
The temptations faced by Jesus in the wilderness (Matthew 4.1-11) were all temptations to see his situation and his trust in God as being insufficient, or ‘not enough.’ His temptations began with the reality of his situation, the fact that he was hungry because of fasting for 40 days. He had not had enough food and the temptation was to say that there was not enough and use his power to create food from nowhere. Jesus responded by saying that the words of God were enough for him. The second temptation was in regard to his mission and his then obscurity. Jesus was on his own in the wilderness and was offered celebrity and fame because his obscurity was clearly not enough to achieve his mission. Jesus’ response was essentially saying that the path he was following was enough. The final temptation was linked but, instead of being focused on fame, was focused on power. Jesus’ mission was to save all humanity and he was offered power over all humanity as a shortcut to success and as recognition of the lack of power he possessed as an insignificant carpenter in a backwater of the mighty Roman Empire. Jesus responded by saying that God’s way was enough for him.
Jesus was tempted on the basis that who he was and what he had were not enough to achieve the mission he had been given. He was tempted to think of himself, his situation and God, in terms of scarcity and deficit. But deficit is not our modus operandi as Christians. We don’t have to look far for a mission statement for the church. Jesus said, ‘I came that they may have life, and have it abundantly’ (John 10.10). Living abundant life; that’s what the Father intends, the Son embodies, the Spirit facilitates.
Sam Wells, the Vicar of St Martin-in-the-Fields says that, as Christians, we are called to live in such a way that gratefully receives the abundance God is giving us, evidences the transformation from scarcity to abundance to which God is calling us, dwells with God in that abundant life, and shares that abundance far and wide.
Jesus is our model of abundant life; his life, death and resurrection chart the transformation from the scarcity of sin and death to the abundance of healing and resurrection; he longs to bring all humankind into reconciled and flourishing relationship with God, one another, ourselves and all creation.
In the middle of the wilderness where he literally had nothing, Jesus received God’s abundance, the abundant life that would sustain him throughout his journey to the cross, and beyond. Also, his time in the wilderness came immediately after his baptism where God had spoken to him saying ‘You are my own dear Son. With you I am well pleased’. God had essentially said to him then, ‘You are Enough’.
As such, we can defend ourselves against temptation as Jesus did. “As God’s children,” Tom Wright says, “we are entitled to use the same defence” as Jesus himself. “Store scripture in your heart,” he writes, “and know how to use it.” When we do, we are able to see through the temptation to think of all that we have as inadequate and, instead, to view our lives and all that we have as a gift from God knowing that, in him, we are enough.
Lent is commonly thought of as being about those things we give up but Lent is ultimately about our opening up. Opening up our lives to receive more of the abundance and the gifts that God is giving to us. In Lent, we give up some of our usual practices in order to have more time for God and to be with God. More time to open up to him and deepen our relationship with him. That was what Jesus was doing in the wilderness and, like him, we too can discover that, as we receive all that God is giving to us, God is enough, God's abundance is enough, our churches and communities are enough, and we are enough. Amen.
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Mumford and Sons - Begin Again.
Wednesday, 18 February 2026
Chappel Galleries - 'Peter Rodulfo: Waiting for a bite'
The alluring mystery of everyday life is contemplated in his work and this exhibition:
‘Watching and waiting also characterises the work of the artist in creation. Rodulfo writes of casting a line out and waiting for a bite, not knowing which creature will take the bait, because he suspects that something surprising may be lurking under the surface of his image as it emerges and coheres. Through the patient watching and waiting that the artist undertakes for that emergent something in the work, his images entice, tease and challenge us, as viewers, to pay attention to what is revealed through the interplay between the patterns of form and colour within which our interactions in creation and in community occur. The patterns of shadows, reflections, and echoes seen in these works then evoke memories from different times and places in our own lives. Life is an alluring mystery which changes and passes too quickly for us to apprehend fully. Rodulfo’s images still a moment in time, enabling us to stop, wait, and see by paying attention to the emergent something his art has revealed. What will bite, what will surface, what will emerge, what will you notice, as you watch and wait and see?’
See here for information about my catalogue essay on Alan Caine and here for information about an essay on Damien Hirst, originally written to be a catalogue essay.
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Bill Callahan - Stepping Out For Air.
Visual Commentary on Scripture - Lent Stations: Community
Click below to visit the first Lent Station, titled 'You Shall Eat the Plants of the Field':
Station 1: You Shall Eat the Plants of the Field
Lent Stations: Community
One of the traditional Christian practices in Lent, along with prayer and fasting, is almsgiving. It’s easy to read the giving of alms as a mere financial transaction; more specifically (and worse) to see it as nothing more than rich people patronising poor people with their money. This has also infected some of our reactions to the word ‘charity’. We hear this in the understandable protest: ‘I don’t want your charity!’. Surely justice would be better; a fair chance for all.
But the full sense (often forgotten) of charity has its roots in the Latin word caritas, and this means something to which justice is just as central as mercy. Properly understood, charity means living in love and in right relationship with one’s neighbour. It means being in community. The Lenten practice of almsgiving sits in this wider context of practices that strengthen the bonds of community.
Indeed, in some cultures, the giver of alms is required to deliver their gift upwards into the hand of the recipient—a hand which is held over theirs. This makes the giver humble and dignifies the recipient. It opens a whole new perspective on ‘giving up’ something for Lent!
This year’s VCS Lenten series of artworks and associated commentaries is centred on the theme of community, something as urgently needed as ever in a fractured world.
Anyone subscribed to the VCS 𝐄𝐱𝐡𝐢𝐛𝐢𝐭𝐢𝐨𝐧 𝐨𝐟 𝐭𝐡𝐞 𝗪𝐞𝐞𝐤 will receive Lent emails twice a week, directly to their inbox. Click on the link to sign up now: https://thevcs.org/sign-vcs-emails
My first exhibition for the VCS was 'Back from the Brink' on Daniel 4: 'Immediately the word was fulfilled upon Nebuchadnezzar. He was driven from among men, and ate grass like an ox, and his body was wet with the dew of heaven till his hair grew as long as eagles’ feathers, and his nails were like birds’ claws.' (Daniel 4:33). In the exhibition I explore this chapter with William Blake's 'Nebuchadnezzar', 1795–c.1805, Arthur Boyd's 'Nebuchadnezzar's Dream of the Tree', 1969, and Peter Howson's 'The Third Step', 2001.
My second exhibition was 'A Question of Faith' and explored Hebrews 11 through the paintings of New Zealand artist Colin McCahon. McCahon is widely recognised as New Zealand’s foremost painter. Over 45 years, his work encompassed many themes, subjects and styles, from landscape to figuration to abstraction and an innovative use of painted text. His adaption of aspects of modernist painting to a specific local situation and his intense engagement with spiritual matters, mark him out as a distinctive figure in twentieth-century art.
My third exhibition was 'Fishers of People'. This exhibition uses Damien Hirst's 'Isolated Elements Swimming in the Same Direction for the Purpose of Understanding (Left) and (Right)', John Bellany's 'Kinlochbervie', and Paul Thek's 'Fishman in Excelsis Table' to discuss Matthew 4:12-22 and Mark 1:14-20. These artworks give us what is essentially a collage of the kingdom whereby we are invited to imagine the kingdom of God as a body of water in which Christians are immersed and through which they are raised.
My fourth exhibition was 'Before the Deluge', a series of climate-focused commentaries on Genesis 6 looking at 'The Flood' by Norman Adams, 'Noah in the Ark and a Church' by Albert Herbert, and 'Noah's Ark' by Sadao Watanabe.
My fifth exhibition reflects on 1 Thessalonians 2:17–4:12. It is called 'Establishing the Heart' and includes works of art by Antoine Camilleri, John Reilly and Stanley Spencer. This exhibition explores how pleasing God in our everyday lives - by living quietly, minding our own affairs, and working with our hands - leads us to see life, work and art as prayer.
For more on the artists included in these exhibitions click on the following links: Antoine Camilleri, John Reilly, Stanley Spencer, William Blake, Arthur Boyd, Peter Howson, Colin McCahon, Damien Hirst, John Bellany, and Paul Thek.
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.
The VCS has a daily email exploring the Bible through art. Through concise but vivid day-by-day encounters, Bible and Art Daily will take you on a series of journeys through the world of Scripture and the history of art. The VCS have 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.
My second exhibition was 'A Question of Faith' and explored Hebrews 11 through the paintings of New Zealand artist Colin McCahon. McCahon is widely recognised as New Zealand’s foremost painter. Over 45 years, his work encompassed many themes, subjects and styles, from landscape to figuration to abstraction and an innovative use of painted text. His adaption of aspects of modernist painting to a specific local situation and his intense engagement with spiritual matters, mark him out as a distinctive figure in twentieth-century art.
My third exhibition was 'Fishers of People'. This exhibition uses Damien Hirst's 'Isolated Elements Swimming in the Same Direction for the Purpose of Understanding (Left) and (Right)', John Bellany's 'Kinlochbervie', and Paul Thek's 'Fishman in Excelsis Table' to discuss Matthew 4:12-22 and Mark 1:14-20. These artworks give us what is essentially a collage of the kingdom whereby we are invited to imagine the kingdom of God as a body of water in which Christians are immersed and through which they are raised.
My fourth exhibition was 'Before the Deluge', a series of climate-focused commentaries on Genesis 6 looking at 'The Flood' by Norman Adams, 'Noah in the Ark and a Church' by Albert Herbert, and 'Noah's Ark' by Sadao Watanabe.
My fifth exhibition reflects on 1 Thessalonians 2:17–4:12. It is called 'Establishing the Heart' and includes works of art by Antoine Camilleri, John Reilly and Stanley Spencer. This exhibition explores how pleasing God in our everyday lives - by living quietly, minding our own affairs, and working with our hands - leads us to see life, work and art as prayer.
For more on the artists included in these exhibitions click on the following links: Antoine Camilleri, John Reilly, Stanley Spencer, William Blake, Arthur Boyd, Peter Howson, Colin McCahon, Damien Hirst, John Bellany, and Paul Thek.
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.
The VCS has a daily email exploring the Bible through art. Through concise but vivid day-by-day encounters, Bible and Art Daily will take you on a series of journeys through the world of Scripture and the history of art. The VCS have 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.
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Tuesday, 17 February 2026
Rev Simpkins in concert
St Andrew’s Church,
11 London Road,
Wickford SS12 0AN
Suffolk-Essex musician, Rev Simpkins, presents an evening of acoustic music of great imagination and charm.
The Rev will perform songs from his acclaimed folk albums such as ‘Big Sea’ and ‘Saltings’, together with songs from his band album ‘Pissabed Prophet’.
The gig will also feature songs from the Rev’s most recent album ‘Headwater’, a collection of fever dreams and reflections on awe and delirium, recorded in the aftermath of an extreme reaction to immunotherapy treatment for stage 4 cancer. These songs recreate sounds and visions experienced on the hospital ward.
The Rev’s sweeping melodies, rich harmonies, and fascinating lyrics have won him both a cult following and national acclaim.
This is a rare chance to experience the breadth of the Rev’s work in one evening.
"Bizarre Post-Punk mastery...Ludicrously cool" 8/10 Vive le Rock on ‘Pissabed Prophet’
“Headwater takes us into new ruminative territory with its industrial electronic soundscapes and use of drones and silences to bring us into contemplation.” International Times
Part of ‘Unveiled’, the Friday night arts and performance event at St Andrew’s Church.
No ticket required – donations requested on the night.
See my reviews of Pissabed Prophet and Headwater here and here plus my interview with the Rev for Seen and Unseen here.
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Rev Simpkins - Holy Innocent's Day.
Monday, 16 February 2026
Portsmouth Cathedral and 'Sanctuary' exhibition
From humble beginnings in 1180 at the heart of Portsmouth's original settlement, this church, dedicated to Thomas Becket, became a parish church around 1320 and a Cathedral in 1927. It has been integral to the development of Portsmouth as a modern, vibrant city. There is much interesting art in the Cathedral.
The nave organ case was designed by Didier Grassin in 2001; the inside of the panels were designed by Patrick Caulfield and painted by Alan Murphy:
‘The organ is in the middle of the design – enfolded by a circle. This speaks of unity of sound and glory. It is a universally accessible symbol, as was specified in the artist’s brief. They themselves echo the Grassin case design which features a fish (or Ickthus) motif on the front of the closed case. The four fish – two on the left and two on the right are Christian symbols which, in turn, enfold the circle within.
The left side depicts night. On the left is a stylised depiction of a lighthouse shining on the sea. Here, there is a particular and universal reference. The particular reference is to the motto of the City of Portsmouth, “Heaven’s Light our Guide.” The universal reference is to God in the mandala (or lozenge) shape at the top of the lighthouse. This shape is used in Orthodox iconography to encompass Christ in Glory. The universal in the particular can also be described theologically as Incarnation.
The right side depicts day. On this side is the sun, and a depiction of the hull of a fishing vessel. The Portsmouth fishing fleet uses the identification P. It is also a play on the Christian monogram – Chi-Rho – the first two letters of Christ in Greek.’
The icon of Our Lady of the Sign over the altar in the Lady Chapel, with its richly gilded background, was created by the famous Russian iconographer Sergei Fyodorov, and dedicated on the feast of the Nativity of the Blessed Virgin Mary on 8th September 2002.
The ‘sign’ in the title is the sign of Isaiah 7:14 – ‘The young woman is with child and will give birth to a son, whom she will call Emmanuel.’ Mary is the ‘God-bearer’, and Jesus prays within her and blesses us; the icon shows Christ in a roundel or medallion, making a gesture of blessing with his right hand. As Canon Alan Wilkinson, co-donor of the icon, wrote: ’Here is Christ praying in Mary. It is a sign and a reminder that our best prayers are when we are silent and let the Christ hidden in the depths of our being pray to the Father.’
At the time the Fyodorov icon was created, in 2001, the Dean William Taylor wrote about it: ‘Icons interact directly with those who look at them. … a quotation of St Augustine of Hippo sums up the meaning of the icon to those who look at it, or pray before it in faith: “Of what help is it that Jesus was born, if he is not born within us.”’
In the south tower transept is the bronze statue of St John the Baptist by David Wynne. It was cast in 1951 as a memorial to a Winchester College pupil killed on the Matterhorn.
Sanctuary, an exhibition by the artist Nicholas Mynheer is open daily from 18 February to 12 April 2026. The exhibition features paintings and sculptures that explore the experiences of refugees, both ancient and contemporary. The story of Jesus, Mary and Joseph fleeing to Egypt sits alongside the realities faced by people crossing the English Channel today. Mynheer's work doesn't offer easy answers – instead, it asks questions. What would we do if our home were no longer safe? How do we respond to those seeking refuge? What does it mean to hope for a better life when the risks are so great? The exhibition is open during standard cathedral opening hours, and is free to view.
Sanctuary, an exhibition by the artist Nicholas Mynheer is open daily from 18 February to 12 April 2026. The exhibition features paintings and sculptures that explore the experiences of refugees, both ancient and contemporary. The story of Jesus, Mary and Joseph fleeing to Egypt sits alongside the realities faced by people crossing the English Channel today. Mynheer's work doesn't offer easy answers – instead, it asks questions. What would we do if our home were no longer safe? How do we respond to those seeking refuge? What does it mean to hope for a better life when the risks are so great? The exhibition is open during standard cathedral opening hours, and is free to view.
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Karl Jenkins - Adiemus Songs of Sanctuary-Hymn.
Watts Cemetery Chapel
The Watts Cemetery Chapel is a unique Grade I-listed terracotta building which is the work of artist and designer Mary Watts and can be found at Compton in Surrey. Over 70 people from the local community helped her create it between 1895 and 1904. It opened in 1898 and remains a working chapel to this day.
Clay tiles decorate the outside. They blend Celtic, Romanesque, and Art Nouveau influences. Inside the Chapel you will find one of the most important and experimental wall paintings in England.
The cemetery is more than 120 years old. It was laid out by Mary Watts between 1895 and 1898, with the help of Compton Parish Council.
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Van Morrison - Comfort You.
Sunday, 15 February 2026
A future that's bigger than the past
Here's the sermon that I shared today at St Mary’s Langdon Hills and St Catherine’s Wickford:
St Paul states in Philippians 3:20 that ‘Our citizenship [as Christians] is in heaven.’ Pause for a moment to reflect on how transformational those words are; ‘Our citizenship is in heaven.’ Paul literally shifts the centre of the universe, from this existence and our daily reality, to the realm of essence, the things that last forever, the habitation of God and of those whom God has called to share the life of eternity. Rather than earth being the source and testing ground of truth and coherence, the measure of all things becomes heaven. So, when we’re assessing whether something is right or wrong, when we’re determining the current state of the Church, the question to ask is, does it stand the test of eternity? Will it abide with God forever? Or does it belong to the world that is passing away?
I want us to follow Paul today and start to concentrate on where we’re going. We’re going to heaven – where there is more than enough love for all, more than enough joy, more than enough truth, more than enough space for everyone to flourish. When we do so, we arrive at a new definition of the Church: a bunch of people who all come from different places but are all going to the same place. We’re a people pooling our resources for a journey we make together to a place none of us have ever been. There are no experts, because we’re all citizens of a country we’ve never visited and longing for a home we’ve never known.
How do we prepare for that journey? We look at the glimpses we have in scripture of heaven, including our Gospel reading today – the story of the Transfiguration (Matthew 17.1-9). In speaking of that story Sam Wells says: “There’s glory – the glory of the Lord in the face of Jesus Christ. There’s the pattern of God’s story in Israel and the church, a story that finds its most poignant moments in the midst of suffering and exile. There’s the loving, tender, presence and heavenly voice of God the Father – a voice that for the only time in their lives, the disciples hear and understand. And there’s the extraordinary realisation that, even though all this could have gone on without them, the disciples have been caught up in the life of the Trinity, the mystery of salvation, the unfolding of God’s heart, the beauty of holiness.”
Up until this point, “the disciples know Jesus does plenty of amazing and wonderful things and says many beautiful and true things, but they still assume he’s basically the same as them.” It’s only as they go up the mountain with him that the veil slips and they’re invited in to a whole other world. A world in which “Jesus is completely at home,” “even when the Father’s voice thunders from above.” “And more remarkably still, it seems there’s a place for them in it, hanging out with the likes of Moses and Elijah. They’ve been given a glimpse of glory. It’s a glory that’s faithful to the story of Israel, a glory that has Jesus at the centre of it, a glory that has God speaking words of love, a glory that has a place for them in it, however stumbling and clumsy they are, and finally a glory in which Jesus touches them tenderly in their fear.”
The glimpse of glory that they are given is a glimpse of heaven. In the glimpse of heaven they are given they first see Jesus with his face shining like the sun. The light of the glory of God shines in the face of Jesus. God is seen – seen, not heard - in Jesus. What the disciples see of God in the Transfiguration is demonstration, not proclamation; the light of God seen as it is lived out in the life of his Son.
Second, they see Jesus in conversation and in relationship with Moses and Elijah. Moses, Elijah and Jesus are together in community, communing one with the other. The letter to the Hebrews speaks about a great crowd of witnesses in heaven made up of the prophets, saints and martyrs who have gone before but with whom we are in relationship. We see here, in the Transfiguration, a glimpse of that community of saints of which we are part.
Third, we see that such glimpses are currently temporary while they encourage us to yearn that they become permanent. Peter responds to the Transfiguration with the hope that Moses, Elijah and Jesus can tabernacle together (or live together in tents) just as God tabernacled (or dwelt in a tent) with the Israelites in the wilderness. Although, he yearns for a longer, more permanent experience, Peter has to accept the temporary nature of the Transfiguration in his present reality. A cloud overshadows the disciples and, when they look up, Jesus is alone again.
As citizens of heaven we are given glimpses of heaven in order that we begin to live as if we were already there. What do the glimpses of heaven that we see in the Transfiguration show us about how to live as if we were already in heaven?
First, the light of God was seen as it was lived out and demonstrated in the life of Christ. The church, therefore, should be about modelling and making possible forms of social relationship not found elsewhere. The church should seek to shape communities whose habits and practices anticipate and portray the life of God’s kingdom. Our role in mission is to cultivate assets and thereby foster and advance abundant life. Social engagement isn’t an add-on to the core business of worship; it’s a form of worship, because in the kingdom disciples are humbled, moved and transformed as they stumble into the surprising places and come face to face with the disarming people in whom the Holy Spirit makes Christ known. Christianity caught on in the second and third centuries because it created institutions that gave people possibilities and opportunities the rest of the world had yet to imagine. That’s what Christianity originally was: a revolutionary idea that took institutional form. That’s what it needs to become again. The church must model what the kingdom of God means and entails in visible and tangible form.
Second, this modelling and demonstration of God’s future now will be centred on community. The Transfiguration shows us Christ in communion with the prophets, saints and martyrs. The chief end of humanity is, as the Westminster Shorter Catechism puts it, to glorify God by enjoying him forever. Heaven is all about relationships; enjoying God, each other, ourselves, and Creation. Therefore, Christianity must take the present opportunity to be what it was always called to be: an alternative society, overlapping and sharing space with regular society, but living in a different time – that’s to say, modelling God’s future in our present. It’s not enough to cherish the scriptures, embody the sacraments, set time aside for prayer, and shape disciples’ character in the ways of truth, if such practices simply withdraw disciples for select periods, uncritically then to return them after a brief pause to a world struggling with inequality, identity, and purpose. Rather, what we need is to become and to model communities of ordinary virtues, but ones infused with grace: thus trust, honesty, politeness, forbearance, and respect are the bedrock of such communities, while tolerance, forgiveness, reconciliation, and resilience are among its abiding graces. What I’m describing is the transformation of churches into dynamic centres of abundant life, receiving, evidencing, dwelling in and sharing forms of social flourishing and being a blessing to their neighbourhood.
The Lent Course that we will shortly begin explores the question ‘Who is my neighbour?’ in terms of: being waited on by Angel Neighbours; being a neighbour to those close to us; giving hospitality to strangers; standing up for the oppressed; carrying another’s load; and being a neighbour to those on the road. That course will, therefore, provide an opportunity for us to explore together how to become and how to model being a community of ordinary virtues infused with grace.
Third, we recognise the temporary nature of our community whilst longing, like Peter, for a more permanent experience of heaven on earth. That reality is implied by the phrase ‘The future is always bigger than the past.’ In essence, we don’t know, but we’re learning. We haven’t arrived, but the journey’s great. We’re not sure exactly where we’re going, but it’s getting better all the time. We’ve had some wonderful experiences, but the best is yet to come. So, we pray for the kingdom to come in future, on earth as it is in heaven, while seeking to create temporary signs of that kingdom in the here and now.
The experience of what it’s like to feel as though we’re already in heaven is what we call the kingdom of God. Entering in to that experience of glory is where we’re going. God invites us all to be in heaven, not because any of us have a right to be there, or because God is trying to set straight a historic injustice or present imbalance, but because God chooses never to be except to be with us in Christ, and that being-with is not a for-some-people thing but a for-everyone thing, and it’s not a for-now thing it’s a forever thing. We prepare for that reality by learning to live with everybody now and receive their unexpected gifts with imagination and gratitude in recognition that these are the people with whom we’ll be spending eternity, lucky and blessed as we all are to be there. So, we’d best use these earthly years as a time for getting in the mood of heaven. May it be so for each one of us. Amen.
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Barratt Band - My Spirit's Free.
Saturday, 14 February 2026
Windows on the world (558)
London, 2025
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Van Morrison - St Dominic's Preview.
Friday, 13 February 2026
Shrove Tuesday, Ash Wednesday, and Lent
St Catherine’s Hall
Tuesday 17th February
Drop in between 2.30pm and 4pm or stay all afternoon and help raise funds for St Catherine’s tower restoration.
£5 to include 2 pancakes and tea or coffee
Gluten free available on request
Names before 15th February please
Pay on the day
Ash Wednesday (18 February)
Eucharists with the imposition of ashes will be held at 10.30 am at St Andrew's Wickford and at 8.00 pm at St Mary's Runwell.
Lent Course - Who Is My Neighbour?
A course from St Martin-in-the-Fields in conjunction with the National
Gallery, exploring Art and the Bible Story. We are offering this six week
course from week commencing 23rd February. The final week will be
decided by each group. Lent Course groups are meeting on Tuesday and Thursday evening at 7.30 pm and on Thursday afternoon at 2.00 pm. Email to jonathan.evens@btinternet.com if joining a group would be of interest.
Stations of the Cross
Valerie's Stations of the Cross have a very clear and intense focus on details which are evocative of the whole. They have previously been shown at St Martin-in-the-Fields and the Diocesan Offices of the Diocese of Chelmsford.
Valerie Dean returned to England in the summer of 2007 after living for 27 years in Belgium. There, she studied art for six years and had various exhibitions, in and around Brussels. On returning to England, she became involved in the Kent arts scene and exhibited, regularly, in the Francis Iles gallery, in Rochester. She also took part in the Canterbury Arts Festival and exhibitions in Whitstable.
She worked in acrylics and her technique was usually to put materials and colours on canvas or board, to see what emerged. It was a dialogue between the artist and her materials. Because of her background, this often consisted of figures around a religious theme. They just appeared! Very often, people seemed to want to appear in her paintings, a little like the pictures in the fire that she used to see in her childhood. At other times, she found that buildings and places she knew inspired her.
See also 'Fear not, for I am with you: An exhibition of religious paintings by David Sowerby'
9 January – 3 April 2026
St Andrew’s Church, 11 London Road, Wickford SS12 0AN
St Andrew’s is usually open: Sat 9am-12.30pm; Sun 9.30am-12 noon; Mon 2-3.45pm; Tue 1-4.30pm; Wed 10am-12 noon; Fri 10am-1pm. https://wickfordandrunwellparish.org.uk/whats-on.html
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Emmylou Harris - Prayer In Open D.
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