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










Pancake Party
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

A set of Stations of the Cross by the late Valerie Dean have been installed at St Andrew's Wickford for Lent and Holy Week. We will pray these Stations during Holy Week.

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.

Stations of the Cross



























A set of Stations of the Cross by the late Valerie Dean have been installed at St Andrew's Wickford for Lent and Holy Week. We will pray these Stations during Holy Week.

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

David Sowerby

Born 24th October 1954
Studied Foundation at Middlesbrough Art College
BA (hons) Art and Design at The Central School of Art (London)

I worked as a freelance illustrator and teacher throughout my life and eventually retired as a Principal Lecturer at The University of the Arts London.

I now support a range of charities, both local and national, via my mutual interest and fascination with art and creativity.

An earlier exhibition was just prior to the first lockdown which was held at The Transition, Chelmsford, with proceeds going towards The British Heart Foundation raised just over £6,000.

I continue to support local and national charities, contributing a large percentage of any sales to such charitable organisations and causes.

My work can be viewed on my Facebook pages, search for David Sowerby with more available to view at Sowerbycreations (Facebook again).

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Adrian Snell - Golgotha.

Wednesday, 11 February 2026

Proverbs that persuade or tease into Wisdom

Here's the sermon that I shared this morning at St Andrew's Wickford:

The young King Solomon may have been around 20 when he became King and asked for wisdom instead of long life, riches, or the death of his enemies (1 Kings 2.10-12, 3.3-14). God was pleased with Solomon's request and personally answered his prayer. This has often been understood as being because Solomon did not ask for self-serving rewards.

1 Kings 4. 32-34 tells us that: “God gave Solomon wisdom—the deepest of understanding and the largest of hearts. There was nothing beyond him, nothing he couldn't handle. Solomon's wisdom outclassed the vaunted wisdom of wise men of the East, outshone the famous wisdom of Egypt. He was wiser than anyone—wiser than Ethan the Ezrahite, wiser than Heman, wiser than Calcol and Darda the sons of Mahol. He became famous among all the surrounding nations. He created 3,000 proverbs; his songs added up to 1,005. He knew all about plants, from the huge cedar that grows in Lebanon to the tiny hyssop that grows in the cracks of a wall. He understood everything about animals and birds, reptiles and fish. Sent by kings from all over the earth who had heard of his reputation, people came from far and near to listen to the wisdom of Solomon.”

Solomon’s reputation rested not only on his own brilliance but also his patronage of learning and the arts. The Queen of Sheba, who visited him because of his reputation for wisdom (1 Kings 10), was just one of a stream of visitors who poured into Israel to hear him and put him to the test, and from whom he learned as well. He and his wise men culled the wisdom of the east, but incorporated nothing that was not in line with God’s standards.

Solomon is credited in the Bible with writing an entire book of Proverbs based on the wisdom that God gave him through his experience of life. The book of Proverbs begins by setting out what wisdom is for:

“These are the wise sayings of Solomon,
David's son, Israel's king—
Written down so we'll know how to live well and right,
to understand what life means and where it's going;
A manual for living,
for learning what's right and just and fair;
To teach the inexperienced the ropes
and give our young people a grasp on reality.
There's something here also for seasoned men and women,
still a thing or two for the experienced to learn—
Fresh wisdom to probe and penetrate,
the rhymes and reasons of wise men and women.”

Wisdom, in the Old Testament, tends to be the voice of reflection and experience, rather than of bare command or preaching. Through Wisdom, we are persuaded, even teased, into seeing a connection between God’s order in the world and his orders to human beings. That includes the absurdity or foolishness of going against the grain of God’s creation.

Proverbs gives us the key to wisdom. “Start with God,” it says, “the first step in learning is bowing down to God; only fools thumb their noses at such wisdom and learning.” Or in other translations, “the fear of God is the beginning of wisdom.”

The ‘fear of God’ is the starting point of Proverbs and the pivot of all Wisdom literature in the Bible. Secular philosophy tends to measure everything by human beings, and comes to doubt whether wisdom is to be found at all. But the Old Testament with this motto – ‘the fear of God is the beginning of wisdom’ – turns the world the right way up, with God at its head, his wisdom the creative and ordering principle that runs through every part; and human beings, disciplined and taught by that wisdom, finding life and fulfilment in his perfect will. Knowledge in its full sense is a relationship with God, dependent or revelation or wisdom and inseparable from character or discipline.

So how can be we best use the proverbs and wisdom that we are given in the Bible? It is important to bear in mind that proverbs are by nature generalisations. They state what is generally true, not invariably true. The writers do not deny that there are exceptions. But exceptions are not within the scope of proverbial sayings. For instance, Proverbs states that those who live by God’s standards will prosper in the world. This is generally the truth (and we have statistical evidence today about the health and general well-being of churchgoers to back this up). But it is not an ‘unconditional’ promise, as the example of Job and the life of Jesus clearly show us.

So, these proverbs are not a set of commands or laws that must be followed to the letter in order that we benefit from wisdom. Instead, they are given to persuade us or tease us into seeing a connection between God’s order in the world and his orders to human beings. The style of the proverbs is to provoke thought, getting under the skin by thrusts of wit, paradox, common sense, and teasing symbolism. They are a bit like the parables of Jesus, something to make us think about life rather than being a set of clear and simple instructions to follow.

As a result, it is good to digest or study them a few saying at a time, weighing one saying against another and getting an idea of the general teaching on a particular topic. One resource that I have which helps in doing this is a calendar which has a different proverb for each day together with a very brief relational reflection on that day’s proverb.

That brings me on to another aspect of Solomon’s proverbs, which is that they are for the whole of life. There is no separation of the public and private or the sacred and the secular when it comes to the proverbs and wisdom in the Bible. Proverbs applies the principles of God’s teaching to: relationships, home, work, justice, decisions, attitudes, reactions, everything we do and say and think.

Proverbs 1. 20-21 says:

“Wisdom goes out in the street and shouts.
At the town centre she makes her speech.
In the middle of the traffic she takes her stand.
At the busiest corner she calls out.”

This open proclamation, made above the noise of the market, shows that the offer of wisdom is for the person in the street, it is for the business of living. So, for the Bible’s wisdom to really make sense we have to take and use it in everyday life; to apply to our Monday to Saturday lives rather than keeping it bottled up on Sundays alone. As Amy Carmichael prayed, “Holy Spirit, think through me till your ideas are my ideas.”

(Use made of material from The Lion Handbook to the Bible)

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NEEDTOBREATHE - What I'm Here For.

Seen and Unseen: When converts cracked open the culture’s polished surface

My latest article for Seen and Unseen is 'When converts cracked open the culture’s polished surface' in which I explore how faith’s outsiders disrupted the scene with unexpected force:

'Converts by Melanie McDonagh has been described a ‘thought-provoking examination of the literary stars who became Catholic’ in the twentieth century. Kathryn Hughes, in her review of the book, notes that: ‘In the five decades between 1910 and 1960, more than half a million people in England and Wales became Catholics. Among them were a clutch of literary stars: Oscar Wilde, Evelyn Waugh, Muriel Spark and Graham Greene.’ But there were also a whole host of other poets, artists and public intellectuals who are less-well known to us today, although, perhaps, no less interesting.

The book offers 16 biographical sketches interspersed with analysis of some of the reasons for this phenomenon, including the impact of earlier converts such as John Henry Newman, migration, the influence of prominent Catholic clerics, and the traumas caused by two World Wars. In his review, Dan Hitchens suggests that Converts, ‘in its cheerfully unsentimental way’, demonstrates ‘not only why the floodgates [of conversions] opened for a few decades, but also why the stream has never quite dried up’.'

For more on the period explored by this article see the following:
See also 'Art and Faith: Decades of Engagement: Introduction, 1880s, 1890s, 1900s, 1910s, 1920s, 1930s, 1940s, 1950s, 1960s, 1970s, and 1980s.

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.

My 40th article was 'When Henry Moore’s Madonna shocked Northampton' in which I explore how a modernist mother and child stirred outrage, then lasting wonder.

My 41st article was 'Turner and Constable: storms, salvation and the sublime' in which I discussed how Tate Britain reveals how rival visions shaped art and spirit.

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John Gray - Ad Matrem: I

Sunday, 8 February 2026

Windows on the world (557)

 


South Woodham Ferrers, 2026

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The Frames - Sad Songs.

Wednesday, 4 February 2026

The sin of counting and trusting our own material resources

Here's the sermon I shared this morning at St Andrew's Wickford:

Our Old Testament story from 2 Samuel 24: 9-17 seems a rather strange one. David has the number of fighting men is Israel numbered but then realises that he has sinned in doing so and the punishment for this sin is a pestilence that kills 70,000. In our day and time when census’ and statistics are commonplace, we see no sin in counting people and certainly struggle to comprehend why doing so should result in punishment.

The issue would seem to be that becoming aware of the size of one’s army is likely to reduce trust in God and increase trust in one’s own resources. David’s early career was entirely based on trust in God as he went up alone against the most powerful of the Philistine soldiers wearing no armour and carrying only a slingshot yet, through trust in God, triumphed against the odds. Now, though, he feels the need of the reassurance that 800,000 men are available to form his army.

Like David, the Church of England has become obsessed about numbers. In the past, when the Church of England trusted in Parish ministry and Parish priests, there was no need to count the numbers attending church services because Parish ministry meant that everyone in the Parish was a Parishioner regardless of whether they attended Church or not. At that time, the Church of England trusted that God was at work within the lives of Parishioners whether they were to be found in Church of not.

Now, the Church of England has lost that sense of trust in God and in the parish system, becoming instead obsessed with numbers in Church services on a Sunday and pouring vast amounts of money into initiatives that try, generally unsuccessfully, to significantly increase the numbers to be found in churches on a Sunday.

As a result, a Parish like ours which impacts people in the community seven days a week through Schools ministry, Care Home ministry, pastoral visiting, social action, wellbeing and cultural initiatives is overlooked and underfunded by the central Church, while money is instead poured into initiatives that set up new churches in existing Parishes.

One of the key factors in this change of practice and emphasis was the decision, like that made by David, to begin counting our people. Not only did this run the risk, which has now clearly come about, of focusing on our own resources or their perceived lack, rather than focusing on God and his provision, but it also had the effect of undermining our understanding of parishioners as everyone within the Parish by focusing our statistical attention on those in church on a Sunday. The latter is a congregational focus, rather than a Parish focus, and ignores or overlooks or obscures all the ongoing ministry with which a Parish like ours in engaged.

Trust in God is not engendered, as many within the Church of England currently seem to believe, by large numbers of people attending services or supposedly being converted – as is the focus of many mission conferences and agencies. Instead, trust in God is most clearly found in initiatives, where like David facing Goliath, the resources we have seem pitiful and meagre – inadequate to the task – and yet achieve impact because God is with us.

God is not only with us when material resources are poured out in abundance or when large numbers are to be found in services. God is with us in every situation and circumstance within our Parish because God’s Spirit is at work within every part of and person in our Parish. As we engage with our community, we see that truth realised in each place to which we go and each person we meet. That is what true Parish ministry involves and it is undermined when, like David and the Church of England centrally, we begin numbering our resources in order to trust in what we have, rather than trust in God alone.

The challenge of this strange story is to place our trust when it should always be – in God – rather than in the human resources available to us. May it be so for each one of us. Amen.

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MercyMe - Even If.

Monday, 2 February 2026

Artlyst: The Art Diary February 2026

For the February 2026 Art Diary for Artlyst begins with the contrasts of light (Lakwena Maciver) and dark (Tracey Emin), before highlighting exhibitions at the National Gallery, Auckland Castle, St Andrew’s Wickford, St Peter’s Nottingham, and Elizabeth Xi Bauer that explore these themes in relation to spirituality. A further series of exhibitions featuring the Quilters of Gee’s Bend, Titus Kaphar, and Yinka Shonibare explores aspects of black culture and heritage. Exhibitions at Studio Voltaire, Wimbledon Museum, Dorchester Museum & Art Gallery and Chappel Galleries examine the poetics of everyday actions, while exhibitions featuring work by Sean Scully, Leiko Ikemura, Yona Verwer, Brian Whelan, and Hady Boraey explore the relationship between human beings and the natural world.

For more on Lakwena see here, here and here, on Roger Wagner see here and here, on David Sowerby see here, on Jean Lamb see here, on the Quilter's of Gee's Bend see herehere and here, on Titus Kaphar see here, on Sean Scully see here and here, on Brian Whelan see here

My other pieces for Artlyst are:

Interviews -
Monthly diary articles -
Articles/Reviews -
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Raphael Ravenscroft & Tenebrae - Forgiveness.