Wikio - Top Blogs - Religion and belief
Showing posts with label abstract art. Show all posts
Showing posts with label abstract art. Show all posts

Friday, 29 August 2025

Church Times - Art review: Tanya Ling: Worship Paintings (The Mayor Gallery, London)

My latest exhibition review for Church Times is on 'Worship Paintings' by Tanya Ling at The Mayor Gallery:

'She views all of life as worship (essentially, in the way described by St Paul in Romans 12.1). As a result, she “understands painting not as an object of veneration, but as an act of worship — a channelling of something beyond the self, offered through repetition and restraint”. Therefore, “these paintings are not images of worship, but the result of it.”'

Other of my pieces for Church Times can be found here. My writing for ArtWay can be found here. My pieces for Artlyst are here, those for Seen & Unseen are here, and those for Art+Christianity are here.

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

Friday, 4 July 2025

Unveiled: An Evening with Neil Tye














For the last 25 years Neil Tye has been working professionally, as a physical visual theatre performer, instructor, teacher, and installation artist, and has taken his performances, and teaching skills around the world. At Unveiled tonight, we heard stories about his music, performance, and painting.

He had examples of paintings and a sculpture from two recent series. He spoke of his current series as follows:

'These paintings were born from a simple encounter. A visitor wandered into my studio, drawn first by colour, by shape, by the unspoken language of image.

What began as casual conversation about my art soon deepened, the lines between art and life quietly dissolving. Before long, they were sharing their joys and wounds, their quiet sorrows, their unguarded hopes.

It always stirs me how a canvas, streaked with pigment and possibility, can open hearts wide. How abstraction, unburdened by logic, slips past the mind and speaks straight to the soul. A silent painting, yet somehow, it listens and replies.

After they left, their words lingered like incense. And I, stirred by something sacred, picked up the brush. Each mark led to the next a choreography of colour, a prayer in movement.

When I stepped back, the painting looked back at me. I saw layers like life itself layers of ache and ascent, of hope tangled with hurt. But what caught my eye most were lines piercing through the forms, bold and unwavering. They whispered of Christ, not with fury, but with grace. Not to judge, but to heal.

Through every shape, He moves breaking through the clutter of our days with quiet, radiant mercy.'

Artist Statement

Neil’s artistic practice is grounded in an intuitive and process-driven approach, wherein the act of painting itself dictates the final composition. Rather than adhering to predetermined concepts, he engages with the canvas through spontaneous mark-making and gestural forms, allowing the work to evolve organically. While his initial engagement with a piece may be sparked by a particular colour or shape, it is the dynamic interplay of movement, texture, and form that ultimately guides its development.

By embracing spontaneity and fluidity, his work exists at the intersection of abstraction and interpretation, inviting viewers to engage with the imagery in a way that is both personal and open-ended. Through this interplay between process and meaning-making, Neil`s paintings function as both intuitive expressions and conceptual explorations of movement, memory, and transformation.

About the artist

Neil Tye (b. 1963, London UK) is a Denmark-based artist with a background in both visual arts and physical theatre. Initially working as a performer and educator in physical theatre, he transitioned into visual expression 15 years ago. He holds an MA in Professional Practice from Middlesex University, London, and has exhibited, performed, and taught extensively across Europe and beyond. His exhibitions include venues such as the arts and culture centre Spinderihallerne (Denmark), the arts centre Banco de Nordeste (Brazil), and The Post Houston TX (USA), among others.

Drawing from his multidisciplinary background, Neil’s work explores movement, form, and storytelling through visual mediums. He continues to create from his studio M10 in the Art zone area here in Spinderihallerene.


Tomorrow, 'Make Space for God' is a day of creativity and inspiration led by Anja and Neil Tye, the visionary leaders of "Art Encounter" from Denmark, at Miracle House, Silva Island Way, Wickford from 10.00 am - 4.00 pm.

Art Encounter is an international arts ministry under Rescue Team which is run by married couple Neil and Anja Tye who are based in Denmark.

Neil and Anja are trained artists, and have been using their artistic skills as artist missionaries for many years. They have worked with different Christian organisations and churches from around the world such as Creative Mission in Sweden, Creative Arts Europe in Belgium, YWAM Costa Rica, Circus Victory Brazil, Ad Deum Dance Company USA, Iris Ministries Brazil, Acts Academy International Bible College, to Euroclass youth Mission boarding school in Denmark.

Art Encounter communicates the Gospel by using the arts, from dance, theatre, creative writing, and the visual arts and painting in various settings both in Denmark and around the world.

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

Resurrection Band - Colours.

Friday, 30 May 2025

Church Times - Art review: Mainie Jellett and Evie Hone. The Art of Friendship (National Gallery of Ireland, Dublin)

My latest exhibition review for Church Times is on “Mainie Jellett and Evie Hone. The Art of Friendship” at the National Gallery of Ireland:

'Jellett and Hone are significant as pioneering Irish modernists, as women artists undertaking that mission at that time, and as artists allowing their understanding of the ways in which faith and art intertwine to shape the work they produced. As a result, they are important counterpoints to the narrative that treats modernism as a primarily secular endeavour, and abstraction, through its lack of content, as a primary example of art that was principally for art’s sake alone.'

For more on Jellett and Hone see here, here, here, here, and here.

Other of my pieces for Church Times can be found here. My writing for ArtWay can be found here. My pieces for Artlyst are here, those for Seen & Unseen are here, and those for Art+Christianity are here.

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

Van Morrison - Into The Mystic.

Friday, 27 January 2023

Church Times Art review - M. K. Ciurlionis: Between Worlds at Dulwich Picture Gallery

My latest review for Church Times is of M. K. Ciurlionis: Between Worlds at Dulwich Picture Gallery:

'In bringing together the celestial and the earthly, the physical and the spiritual, music and painting, the fantastical and the real, the figurative and the abstract, Ciurlionis employed a range of techniques and approaches, including the blurring and blending of forms through light and colour; a layering of lines and colours which enables an interweaving or interpenetration of states and forms; the reversing of forms or states of being, such as sea and sky; and a focus on the horizon as the meeting point between zones or worlds, in which the horizon line often functions as a bridge between worlds.'

Other of my pieces for Church Times can be found here. My writing for ArtWay can be found here. My pieces for Artlyst are here and those for Art+Christianity are here. See also Modern religious art: airbrushed from art history?

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

St Martin's Voices - Light Of The Minds That Know Him.


Monday, 23 May 2022

Peter S. Smith, The Dalziel Woodpeckers, and Hans Rookmaaker






Peter S. Smith is currently showing work in RE Original Prints 2022 at the Bankside Gallery and also has a print called ‘Dalziel’s Apprentice’ in an interesting exhibition in the Print Room at the British Museum.

This intriguing new display, The woodpecking factory: Victorian illustrations by the Brothers Dalziel, highlights over 50 works engraved on wood by the Brothers Dalziel firm, illustrating literary and commercial work published throughout the Victorian period. Established in 1839, the Brothers Dalziel (one of whom was a sister – Margaret – a talented senior engraver) became the most successful wood-engraving company in Britain, employing dozens of engravers.

The Brothers Dalziel had enormous cultural power in Victorian Britain, shaping the way people visualised art, goods and ideas. Mostly the engravers made images after designs by draughtspeople, including major artists such as Frederic Leighton and John Everett Millais, and it's these artists who were widely credited and remembered. However, the process was collaborative and the skill of the craftspeople (affectionately known as 'woodpeckers') who engraved such illustrations was considerable.

‘Dalziel’s Apprentice’ is Peter's homage to those Victorian trade engravers and their apprentices who had to cut away all that white in order to make their prints emulate black pen and ink drawings!

Additionally, ‘The Big Picture’ magazine has a section about Hans Rookmaaker and asked Peter to write about him focusing on one specific aspect of his work. In his article Peter has focused on Rookmaaker's use of the term ‘Modern Art’ in the book Modern Art and the Death of a Culture. For more of Peter's reflections on the work of Rookmaaker see here and here.

In his article, Peter refers to Sixten Ringbom's The Sounding Cosmos. A Study in the Spiritualism of Kandinsky and the Genesis of Abstract Painting, a work on the mystical and theosophical themes in modern art. He argues that spiritual elements in modern art have been hidden in plain sight "because many of the institutional guardians of Modernism chose to overlook it" citing Waldemar Januszczak, who argued, in a 2021 article, "that the art historians and institutions of Modernism repeatedly ignored any idea that in Modernism there can be found religious or hermetic intentions" because of "a fear that it would sully the waters."

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

Sarah Brown - I'm On My Way.

Sunday, 10 October 2021

Mark Rothko: Mesmerising And Intimate Works On Paper

My latest review for Artlyst is of Mark Rothko, 1968: Clearing Away at Pace Gallery:

"Mark C. Taylor wrote in Disfiguring: Art, Architecture, Religion that, ‘All of the major abstract expressionists were deeply interested in religion and actively incorporated spiritual concerns in their work.’ In ‘The Spiritual in Twentieth-Century Art’ Roger Lipsey highlighted the work of Jackson Pollock, Mark Rothko, Morris Louis and Ad Reinhardt, while in ‘A Theology of Artistic Sensibilities’ John Dillenberger discussed Arshile Gorky, Barnett Newman, Adolph Gottlieb, Rothko, Pollock, Reinhardt, Willem de Kooning and Robert Motherwell. With ‘The Spiritual Dynamic in Modern Art, ’ Charlene Spretnak added Clyfford Still, Sam Francis and Hans Hofmann. We can also include William Congdon, Richard Pousette-Dart, and, through his links to Pollock, Alfonso Ossorio, to the group of Abstract Expressionists who incorporated spiritual concerns in their work.

Rodolfo Balzarotti has noted that Rothko with his Houston Chapel paintings, Newman with his Stations of the Cross, and Congdon with his paintings of biblical and gospel subjects connected with Catholic liturgy were all painting these cycles in the same time period. Their ‘choice of a context or a theme that is openly, almost provocatively religious, “confessional” even,’ he writes, ‘has precisely the function of orienting how these works are received by reiterating in the most peremptory way their moral and religious, or better still, metaphysical content.’

Among Mark Rothko’s artistic philosophies, he held that painting was a deeply psychological and spiritual experience through which basic human emotions could be communicated. He famously commented to a critic that ‘the people who weep before my pictures are having the same religious experience I had when I painted them’ and spoke of the ‘inner light’ in his paintings. His approach to painting enabled him to experiment with processes to develop a universal expression."

My other pieces for Artlyst are:

Interviews -

Articles -
----------------------------------------------------------------------------------------------------------

Tuesday, 17 August 2021

Artlyst - Roger Cecil: A Once In A Generation Welsh Painter

My latest review for Artlyst is of Roger Cecil – A Secret Artist at y Gaer Museum & Art Gallery:

'From his base in the Ebbw Fach valley, Cecil was inspired by the way in which the industrial combined with the natural environment; his pictures evoking the scars of the valley and the grandeur of nature on the mountainsides where he walked, often staying out for nights on end. Peter Wakelin, author of ‘Roger Cecil: A Secret Artist,’ writes that Cecil’s ‘paintings sang with harmonies of greys, pinks, whites, deep brown and coal-black, and they were complex in texture – rough, dry, polished, pitted.’ 

His style was abstract or semi-abstract, with landforms and bodies often viewed from above and erotically interlocked. Cartographic symbols were graffitied into layers of paint using lines that walked the landscapes they sketched. He scratched and scraped marks and images into the layered ground of his paintings, the marks being, Wakelin suggests, ‘like the scars in his abused industrial landscape’ but also bringing ‘to mind shamanic objects’ that hint ‘at concealed meanings’. In 1995, he saw the Royal Academy’s Africa exhibition, becoming fascinated with the role of the artist/shaman as ‘the one who manifests secrets to be decoded or interpreted by the viewer’.' 

See also my sermon Essential Wisdom which also explores aspects of Roger Cecil's life and work.

My other pieces for Artlyst are:

Interviews -
Articles -

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

Sunday, 4 April 2021

Artlyst - Sean Scully: Philosophical Poetic Pastoral, The 12 / Dark Windows

My latest article for Artlyst is a preview of Sean Scully: The 12 / Dark Windows in New York from 6 May:

"By placing a black square over Landline bands of colour, Scully brings both approaches to spirituality together; an integration of affirmation and negativity, the cataphatic and the apophatic... "Tragedy is part of spirituality,” he commented, standing next to Doric Nyx ... ‘I am not drawn to tragedy: I believe that it is always possible to overcome it and that in the end, a ray of light will shine through.’

The Dark Windows are a further meditation on tragedy. Scully says: ‘There is no doubt that they are a response to the pandemic and to what mankind has been doing to nature. What really strikes me as tragic is that what is a relief for nature is a torment for us. And what is a pleasure for us is a torment for nature. That seems to be the conundrum that we’ve got ourselves into.’ This new body of work serves as a reappraisal or a reckoning – not simply suggesting that while the dark clouds hover and we remain in darkness, the blight will soon be over, and the world will heal itself – rather the realisation that a ray of light will always shine through the darkness or, perhaps, as was the practice of Pierre Soulages, that light will be reflected from the black."

My other pieces for Artlyst are:

Interviews -
Articles -
-----------------------------------------------------------------------------------------------------------

Taylor Swift - Epiphany.