Between: artist in residence

Showing posts with label artist in residence. Show all posts

Wednesday, 23 March 2022

Artlyst - Ali Cherri: Artist in Residence National Gallery

My latest review for A rtlyst is of Ali Cherri's If you prick us, do we not bleed? installation at the National Gallery:

'His installations, therefore, open up a conversation about the Gallery’s Collection, which, by spanning five centuries of Western European painting, includes a large proportion of paintings that treat specifically Christian themes and subject matter. Three of the five damaged paintings are among that group within the Collection, whilst those surrounding Cherri’s vitrines in the Sainsbury wing are predominantly so. At the centre of the Christian faith and its images is the violence of the crucifixion, alongside that inflicted on martyrs following in the footsteps of Christ. In the context of this exhibition, then, there is a discussion to be had about the depiction of violence within the Collection and within Christianity, together with explorations of the extent to which Christ’s passion seeks to unmask systems of violence and the extent to which the Church has been complicit in such systems.'

My other pieces for Artlyst are:

Interviews -

Articles -

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Leonard Cohen - Who By Fire.

Saturday, 6 October 2018

New Roots & Markos Kampanis

commission4mission artist Markos Kampanis is New Roots artist-in-residence for October.

Markos was born in Athens in 1955. He studied painting in London where he lived until 1980. He is mainly a painter but has alos worked with printmaking, book illustration, church murals and icons, while in the past he has tried his hand in stage design. He has done many one man exhibitions and participated in numerous group shows in Greece and abroad. In 1984 he participated in the 15th Biennale of Alexandria.

His work may be described as realistic, however with many technical and stylistic variations. His great, almost fetishistic, interest in materials and techniques, works alongside his academic interest for the history of art that led him to editing books and curating exhibitions.

An artist, painter and printmaker, but also a keen mural artist. Markos has done various murals for monasteries on Mount Athos in Greece and the Monastery of St. Katherine on Mt. Sinai, as well as for private chapels. He has also worked on numerous religious book illustrations.

Click here and here to see images by Markos on the New Roots site.

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John Tavener - Ikon Of Eros.

Monday, 6 August 2018

Irina Bradley: New Roots Artist in Residence for August

In partnership with commission4misssion New Roots has begun featuring an Artist in Residence each month. In August 2018 the Artist in Residence is commission4mission member Irina Bradley.

Irina Bradley is an iconographer, specialising in Russo-Byzantine style, who follows the traditional way of icon painting, which is regarded as a contemplative practice. It is a transformative process, which takes place not only on an icon boards, but also within the artist. Irina studied icon painting in Italy, Russia and the UK. Irina graduated from the Prince’s School of Traditional Arts in London, where amongst other disciplines she studied Indian and Persian miniature painting, mosaics, stained glass, islimi, tiles, ceramic plates glazing and geometry. Irina’s successfully defended her doctoral thesis on the iconography of St George and the Dragon in January 2015. Irina is a visiting tutor for icon painting at the Prince’s School of Traditional Arts in London, where she teaches at MA level, she also teaches open program courses for general public.

Irina’s work is worldwide. She has exhibited at several international exhibitions and has presented her research and icons at Christ Church Oxford, the Temenos Academy, the Boghossian Foundation in Brussels, Cumberland Lodge and the V&A. Irina’s icons are featured in an international publication Divine Temple by Kolomenskaya Versta of Saint Petersburg. Irina’s icons are being exhibited at Buckingham Palace’s summer exhibition from July to September 2018.

New Roots seeks to meet the needs of those who ‘believe but don’t belong’, nurturing a place of support, resource and encouragement. Find them here.

New Roots is excited that from July 2018 they will feature an ‘Artist in Residence’ each month and have initially teamed up with commission4mission to begin working with a number of artists. The New Roots Artist in Residence will be invited to profile a number of different works for a month with the first artists featured being from commission4mission.

New Roots are keen to work with artists using different visual mediums – so if you are interested in becoming a ‘New Roots Artist in Residence’ get in touch: bob@newroots.online.

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John Tavener - Ikon of St. Cuthbert of Lindisfarne.

Sunday, 1 July 2018

New Roots Artist in Residence.- Valerie Dean

commission4mission's Valerie Dean is the first New Roots Artist in Residence. Valerie’s series of pictures as Artist in Residence on the New Roots website will feature angels. “I think it possible that angels really exist, as messengers of God. In any case they represent the moment when we feel touched by the transcendent and perhaps feel called to respond to God.

I have a print of Fra Angelico’s “Paradise” on my wall. It shows happy angels welcoming people into heaven and it was a great comfort to me at a time of sorrow and loss. Jesus tells us of the rejoicing among the angels over the conversion of a sinner so there is hope for us all!”

Valerie’s first picture as Artist in Residence is available from today.

New Roots seeks to meet the needs of those who ‘believe but don’t belong’, nurturing a place of support, resource and encouragement. Find them here.

New Roots is excited that from July 2018 they will feature an ‘Artist in Residence’ each month and have initially teamed up with commission4mission to begin working with a number of artists. The New Roots Artist in Residence will be invited to profile a number of different works for a month with the first artists featured being from commission4mission.

New Roots are keen to work with artists using different visual mediums – so if you are interested in becoming a ‘New Roots Artist in Residence’ get in touch: bob@newroots.online.

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The Band with Bob Dylan - When I Paint My Masterpiece.

Friday, 4 August 2017

Church Times: Where Love & Sorrow Meet, A fractious and yet fruitful embrace & From the Polish spirit

This week's edition of Church Times has much that is of interest beginning with its report on the commemorations of the 50th anniversary of the 1967 Sexual Offences Act, which reduced the grounds on which homosexual men could be sent to prison. This includes 'Where Love & Sorrow Meet', a service in St Martin-in-the-Fields, which looked forward as well as back. Click here to read the addresses from that service, including a powerful sermon from Mark Oakley.

Ayla Lepine, an art historian and ordinand, reflects on the idea of the artist-in-residence, and looks at some examples of how it works for churches. Ayla, with Alastair McKay, will also be facilitating taster sessions at Greenbelt from the new online interactive discipleship resource from St Martin-in-the-Fields and the National Gallery, ‘Art and the Bible Story: Inspired to Follow’, which looks at the Biblical story through fine art paintings.

I enter into the world of Polish émigré art, and its link to the hospice pioneer Dame Cicely Saunders, through a review of Art Out of the Bloodlands at Ben Uri Gallery. I have written a wide range of pieces of émigré artists, particularly Polish artists in Britain, and these supplementary articles and posts can be found at:

In this review I note that the current exhibition of Polish art at the Ben Uri Gallery, a recent exhibition by Jamaican artists at St Stephen Walbrook, and the current exhibition “I Am” of work by Middle Eastern women artists at St Martin-in-the-Fields (until 20 August) — all opened within days of each other. London is nothing if not cosmopolitan, and the churches continue to contribute to that diversity and our reflection upon it.

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London Gay Men's Chorus - Bridge Over Troubled Water.

Saturday, 25 May 2013

Saints - evolving, personal and alive

Several current exhibitions in London make significant use of the Christian tradition of saints to comment on contemporary issues.

In Iconostasis at the Halcyon Gallery, Mitch Griffiths asks, 'Who are the icons of today? Who are the celestial equivalents of our age?' "Griffiths plays with the notion that our saints have now evolved – no longer heavenly, but worshipped for their unending trials and self-promotion through the media. Griffiths’ figures exist in a state of purgatory – neither holy nor common, famed nor unknown – hanging on the edge of a nirvana which is based no longer on divinity, but instead on a false sense of ecstasy ensued by the rituals and expected behaviours of contemporary society."

In Cecilia Vicuña's early paintings, "religious icons are replaced by personal, political and literary figures, and some were previously exhibited in her 1973 exhibition (Pain Things & Explanations) at London’s ICA (Institute of Contemporary Arts)." Her exhibition at England & Co begins with a group of these "paintings from the early 1970s that narrate her own history, interwoven with that of Chile and Salvator Allende. These use a painting technique Vicuña learned in the late 1960s from the Surrealist artist Leonora Carrington; and were initially inspired by the naive and subtly subversive images made by 16th Century indigenous artists in Latin America after the Spanish conquest when they were forced to paint angels and saints for the Catholic Church."
Michael Landy: Saints Alive is the culmination of Landy’s position as the National Gallery’s current Rootstein Hopkins Associate Artist in residence.

"Landy’s imagination has been captured by images of saints in the collection; the colourful and detailed portrayal of their lives, their attributes, and stories of their single-mindedness and strength have provided powerful stimuli for Landy’s work. Towering over visitors, the seven large-scale sculptures swivel and turn, in movements that evoke the drama of each saint’s life. Saints Apollonia, Catherine, Francis, Jerome, Thomas – and an additional sculpture that takes a number of saints as its inspiration – fill the Sunley Room alongside collages on paper that show the creative process on which Landy embarked to arrive at the kinetic sculptures.

The large-scale sculptures are formed of re-imagined fragments of National Gallery paintings cast in fibreglass, painted and assembled with the surprising addition of metal cogs, wheels, defunct fan belts and motors that Landy has accumulated from junkyards, car boot sales and flea markets. Landy has reworked the two-dimensional images into energetic three-dimensional pieces, creating elements hidden from view in the original paintings, such as a saint’s back or the fullness of folds of drapery. Keen to involve visitors and to facilitate interaction with the works, Landy has devised foot pedal mechanisms that crank the works to life."
Richard Dorment, reviewing the exhibition for the Daily Telegraph, concludes:

"Landy’s interest in saints who were willing to suffer and die for their beliefs doesn’t seem so remote from the subjects he’s been dealing with throughout his career. What makes his take on the world so interesting to me is that he rejects both the materialism of Marxism on the one hand and of consumerism on the other in favour of a third possibility, that we can live our lives according to spiritual values, placing our trust in things we can’t see or touch or own – whether that entails religious belief or not.

What an artist."

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James Macmillan - Padre Pio's Prayer.