The good news encapsulated in one chapter

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

Romans 8 is one of the most important chapters in the whole of scripture. It begins with the wonderful reminder us that there is no condemnation for those who are in Christ Jesus. What Christ does for us on the cross frees us from the effects and consequences of sin. This is the fundamental good news of Christianity!

Next, we are told that we are children of God and therefore heirs of God and joint heirs with Christ. Not only are we saved from sin but we are accepted, loved, valued and welcomed by God. The good new of Christianity gets better and better!

Then, we read that being revealed as the children of God is not only good news for us but also good news for the planet because the creation is waiting with eager longing for the revealing of the children of God. Instead of the selfish and wasteful exploitation of creation’s resources – the domination and abuse – which characterises human engagement with the world, we are intended to creatively realise the inherent possibilities, the essential goodness, of creation through our imaginative ability as those who notice and name. We are able to do this because we have left our old, selfish way of life behind and have been adopted by God as his children, becoming brothers and sisters of Jesus, co-heirs with him of all he possesses.

Unfortunately, large numbers of people in our world have yet to realise that they are God’s children and live selfishly as a result. That impacts our world in many ways which are detrimental to it and, as we wait for further change, we can often feel inadequate to the work of realising the essential goodness of our world and therefore feel lost for words in praying for our world and its transformation.

I wonder how often you find yourself lost for words. While some of us are more garrulous than others, it is an experience that comes to us all, particularly when we have experiences that either raise us to the heights or plunge us into the depths.

I wonder how often you have had that the experience of being lost for words as you pray. In prayer, it is possible that we might feel inadequate as we have heard others pray publicly and think that we are unable to pray as eloquently, so may not pray at all. Equally, we may experience what artists and writers experience, that is the difficulty of beginning – of putting words together or making marks on a pristine page. Equally, in prayer, we may have the experience of feeling that our words cannot match the experience we are having, whether or exaltation or depression. Whatever the reason, we are promised in today’s New Testament reading that the Holy Spirit will help us in such moments.

St Paul acknowledges in this passage that such times come; that there are times when we find it hard to pray. We do not know how to pray he writes to the Church in Rome (Romans 8. 26) but in those times the Holy Spirit himself comes to help us by pleading with God for us in groans that words cannot express.

We are often quite restrained in our relationship with God and in our praying. Therefore, we will often praise God and say that we will obey or follow him but we rarely argue, protest, complain or question him, at least not publicly. Yet here Paul is saying that the Holy Spirit wishes to help us express our deepest feelings – the groans that words cannot express - to God. Doing so is part of our coming to know God more deeply.

Words, themselves, are sometimes inadequate to express how we feel, which may be why St Paul speaks here of groans that words cannot express. We will all have heard, for example, of the practice in some cultures of Keening.

Keening can mean making any long, sad, or wailing sound but is, most famously, the act of making a loud, high-pitched lament for the dead in the Gaelic tradition of Ireland and Scotland. As a ritualized form of mourning involving crying, wailing, and singing over a deceased person, it recognises that words cannot express our grief in the moment of death and that what is needed to feel adequate to the moment are groans that words cannot express.

I had a similar experience following the untimely death of my brother when, at the airport in Pristina towards which the plane on which he had been travelling had been headed, I heard stories of the impact he had had on people in the Disaster Response Team with which he had been working in Kosovo and on the Kosovan people whom he had been helping to rebuild their homes following the conflict in their country. As those stories were told, all I could do was to cry continually; both at the sense of loss and because of a sense that God had received my brother Nick into his presence saying ‘Well done, good and faithful servant’. On that occasion, my tears were the groans that words cannot express.

I had the opposite experience as a young Christian when, following a service, I spent along time confessing by sins to God and then felt an overwhelming sense of joy that meant I was laughing continuously without being able to stop. I was at a campsite at the base of the Malvern Hills at the time and spent the evening wandering around that beautiful site laughing uncontrollably because of the sense of joy that words could not express that God had put into my heart that night.

Being lost for words is not a problem when it comes to prayer, instead it can be an opportunity for us to become open to God in a new way that allows emotions, whether of joy or grief, to flow through us and from us in ways that touch both the depths and heights of our emotions.

Next time you encounter that sense of being lost for words when you are praying ask the Spirit to help you in your weakness, as you do not know how to pray as you ought, and the very Spirit will intercede in you with sighs too deep for words. And God, who searches the heart, will know what is the mind of the Spirit, because the Spirit intercedes for the saints according to the will of God.

The fact that God is with us in this way is a confirmation that, despite the challenges of life and the depressing effects of conflict and climate change in our world, nothing can separate us from the love of God and nothing will separate us because, as Julian of Norwich, all shall be well, all shall be well, and all manner of thing be well. As St Paul writes: ‘I am convinced that neither death, nor life, nor angels, nor rulers, nor things present, nor things to come, nor powers, nor height, nor depth, nor anything else in all creation will be able to separate us from the love of God in Christ Jesus our Lord.’

So, here is the good news of Christianity encapsulated in one chapter. There is no condemnation for us as welcomes us into his family as his children, giving us all that Jesus also possesses. Our world too can and will be transformed and changed as more are revealed as children of God and live as children of God. While we wait for that change to come God speaks in and through us as his Spirit prays in us for that time of transformation to come. This reality is confirmation that the selfishness we see impacting our world currently is not the final story and will not ultimately dominate life of this planet. Instead, our world will know transformation through the love of Christ which ultimately overcomes and changes all that stands in its way. Love wins! Nothing can separate us from the love of God in Christ Jesus our Lord. All shall be well, all shall be well, and all manner of thing be well. Amen.

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Jonathan Evens - Meditation on Alan Oldfield's Revelations of Divine Love of Julian of Norwich.

International Times: ‘Learning My Language’

My latest interview for International Times is with Jacquiline Creswell, who has worked as a curator with a number of Cathedrals in England and in that time has commissioned, curated and installed more than 80 exhibitions:

'It’s so interesting, as it usually takes about two or three years to do an exhibition, and what’s really amazing and fascinating is how the artist sees their work and themselves differently in that time. Somehow, they’ve actually embraced faith. I don’t necessarily mean in a Christian way but they have a new and different spirituality by that engagement. They talk to the Cathedral’s communities and there’s these backwards and forwards conversations, from which everybody’s learning. Everybody’s getting something from it. It’s bringing light to everybody.'

My reviews of exhibitions curated by Jacquiline Creswell can be read here, here, and here.

My earlier pieces for IT are: an interview with the artist Alexander de Cadenet; an interview with artist, poet, priest Spencer Reece, an interview with the poet Chris Emery, an interview with Jago Cooper, Director of the the Sainsbury Centre for Visual Arts, a profile of singer-songwriter Bill Fay, plus reviews of:

• Michael Takeo Magruder -Reconstructed Landscape{s}
• The Last Supper: Art, Faith, Sex and Controversy in the 1980s
• In Another World: The Four Seasons of Talk Talk
• Hulda Guzman: Please awake - asked Nature kindly' at Turner Contemporary;
• 'Devotions' by Lucy Caldwell and 'Catholic Modernism and the Irish ‘Avant-Garde’: The Achievement of Brian Coffey, Denis Devlin, and Thomas MacGreevy' by James Matthew Wilson;
• the 'Stations' project from Dunlin Press;
• 'William Blake: The Age of Romantic Fantasy';
• Joseph Arthur in concert;
• installations by Chiharu Shiota and Yin Xiuzhen at Hayward Gsllery,
• U2's 'Days of Ash', Mumford and Sons' 'Prizefighter' and Moby's 'Future Quiet';
• 'Collected Poems' by Kevin Crossley-Holland;
• 'Lux' by Rosalía;
• 'Springsteen: Deliver Me from Nowhere';
• 'Great Art Explained' by James Payne;
• 'Down River: In Search of David Ackles' by Mark Brend;
• 'Headwater' by Rev Simpkins;
• 'The Invisibility of Religion in Contemporary Art' by Jonathan A. Anderson;
• 'Breaking Lines' at the Estorick Collection of Modern Italian Art,
• albums by Deacon Blue, Mumford and Sons, and Andrew Rumsey,
• also by Joy Oladokun and Michael Kiwanaku;
• 'Nolan's Africa' by Andrew Turley;
• Mavis Staples in concert at Union Chapel;
• T Bone Burnett's 'The Other Side' and Peter Case live in Leytonstone;
• Helaine Blumenfeld's 'Together' exhibition,
• 'What Is and Might Be and then Otherwise' by David Miller;
• 'Giacometti in Paris' by Michael Peppiatt,
• the first Pissabed Prophet album; and
• 'Religion and Contemporary Art: A Curious Accord', a book which derives from a 2017 symposium organised by the Association of Scholars of Christianity in the History of Art.

Several of my short stories have been published by IT including three about Nicola Ravenscroft's EarthAngel sculptures (then called mudcubs), which we exhibited at St Andrew's Wickford in 2022. The first story in the series is 'The Mudcubs and the O Zone holes'. The second is 'The Mudcubs and the Clean-Up King', and the third is 'The mudcubs and the Wall'. My other short stories to have been published by International Times are 'The Black Rain', a story about the impact of violence in our media, 'The New Dark Ages', a story about principles and understandings that are gradually fading away from our modern societies, and 'The curious glasses', a story based on the butterfly effect.

IT have also published several of my poems, including 'Spencer Reece at Bemerton' which is based on the visit that I made to Bemerton in 2026 with Spencer Reece, 'The ABC of creativity', which covers attention, beginning and creation, and 'The Edge of Chaos', a state of existence poem. Also published have been three poems from my 'Five Trios' series. 'Barking' is about St Margaret’s Barking and Barking Abbey and draws on my time as a curate at St Margaret's. 'Bradwell' is a celebration of the history of the Chapel of St Peter-on-the-Wall, the Othona Community, and of pilgrimage to those places. Broomfield in Essex became a village of artists following the arrival of Revd John Rutherford in 1930. His daughter, the artist Rosemary Rutherford, also moved with them and made the vicarage a base for her artwork including paintings and stained glass. Then, Gwynneth Holt and Thomas Bayliss Huxley-Jones moved to Broomfield in 1949 where they shared a large studio in their garden and both achieved high personal success. 'Broomfield' reviews their stories, work, legacy and motivations.

To read my poems published by Stride, click here, here, here, here, here, and here. My poems published in Amethyst Review are: 'Runwell', 'Are/Are Not', 'Attend, attend' and 'Maritain, Green, Beckett and Anderson in conversation down through the ages'.

I am among those whose poetry has been included in Thin Places & Sacred Spaces, a recent anthology from Amethyst Press. I also had a poem included in All Shall Be Well: Poems for Julian of Norwich, the first Amethyst Press anthology of new poems.

'Five Trios' is a series of poems on thin places and sacred spaces in the Diocese of Chelmsford. The five poems in the series are:

• 'Barking';
• 'Bradwell';
• 'Broomfield';
• 'Pleshey'; and
• 'Runwell'.

These poems have been published by Amethyst Review and International Times.

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Church Times - Book review: The Invention of British Art by Bendor Grosvenor

My latest book review for Church Times is on The Invention of British Art by Bendor Grosvenor:

'Grosvenor regularly to the question whether British art is art made in Britain or art made by British artists. Ultimately, he concludes, “it is the very foreignness of British art that makes it distinctly British”.

Grosvenor rightly pays significant attention to the influence of religion (principally Christianity), for good and ill, throughout the telling of his story.'

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.

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The Kinks - Sitting By The Riverside.

The mystery of faith

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

Very shortly in the Eucharistic Prayer we will say: ‘Great is the mystery of faith: Christ has died, Christ is risen, Christ will come again.’ This Eucharistic Acclamation focuses on Christ’s crucifixion, resurrection, and second coming as the essential elements in the mystery of our faith.

St Paul’s first letter to Timothy has a slightly different and expanded list of what constitutes the mystery of our faith (1 Timothy 3.14-end), so let’s look briefly at the items in Paul’s list.

He was revealed in flesh – this is the mystery of the incarnation; that Jesus becomes one of us, moving into our neighbourhood and experiencing all that we experience, meaning that God understands all that we go through and takes it into himself in order that we are united with him - being with us, so we can be with him.

Vindicated in spirit – the mystery of vindication is at least twofold. Jesus was vindicated when those things he had prophesied, such as the destruction of the Temple in Jerusalem – came true. He was vindicated as a true prophet as a result. He was also vindicated when the Holy Spirit came upon his disciples at Pentecost. Again, this was a promise he had made that was later fulfilled after his Ascension. But also, and more deeply, his Spirit was seen in his disciples and his Spirit taught his disciples all about Jesus. So, his disciples receive his Spirit and learn how to live like him by his Spirit.

Seen by angels – Jesus’ birth was hymned and proclaimed by angels as they sang peace on earth, goodwill to all. Angels were involved at every stage of his birth from the angel at the Annunciation, through the angels that appeared to Joseph, as well as the angels that proclaimed his birth. Later, he was ministered to by angels as he prepared for his ministry in the wilderness.

Proclaimed among Gentiles – although his ministry prior to the events of Passiontide was primarily to the lost sheep of Israel, Jesus did meet and impact the lives of many gentiles. From Peter’s vision that took him to the house of Cornelius, where Cornelius’ whole household became converts, on through Paul’s missionary journeys, the Gospel was increasingly proclaimed among Gentiles. This caused considerable debate in the Early Church, primarily in regard to what aspects of the Mosaic Law should apply to Gentile converts. The answer, as was increasingly understood, was none, beyond the greatest commandment – to love God with all you are and love your neighbour as yourself.

Believed in throughout the world – Christianity began as a Second Temple Judaic movement in the 1st century in the Roman province of Judea, from where it spread throughout and beyond the Roman Empire. Christian missionary activity spread "the Christian Way" and slowly created early centres of Christianity with Gentile adherents in the predominantly Greek-speaking eastern half of the Roman Empire, and then throughout the Hellenistic world and beyond the Roman Empire in Assyria, Mesopotamia, Armenia, Georgia and Persia. Christianity is now the largest religion globally, with over 2.3 billion followers and a significant presence in nearly every country.

Taken up in glory – Jesus ascended to be with God the Father for ever but, by doing so, took his experience of humanity into the Godhead, indeed took humanity itself into the Godhead, meaning that he intercedes at God’s right hand on our behalf continually and that, as the first-fruits of the resurrection from the dead, he is the pioneer of our faith who has gone before us into the presence of God to open the way to God that we can subsequently also follow. He descended to be with us and he ascended that we might be with him.

The mystery of faith is the mystery of God with us, one with us that we might one with him. We state the mystery of faith in the acclamation we make in the Eucharist. Mysteries are not to be explained, instead they are to be experienced. That is what happens when we take bread and wine and thereby take Jesus into our lives. This how we become one with him. This is how the incarnation brings Jesus to us and the resurrection, ascension and Eucharist bring us to Jesus. Amen.

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Bruce Cockburn - Mystery.

Unique musical event combined performances of new compositions with Interfaith conversation

This evening, the Woolf Institute at the University of Cambridge presented a unique musical event that used music as a springboard for interfaith dialogue.

Entitled “Creation: A World-Premiere Event”, it featured live performances of new compositions written by musicians from Jewish, Christian, and Muslim backgrounds expressly for this project. The musical offerings were followed by an engaging roundtable discussion featuring an interfaith collection of scholars affiliated with Cambridge University.

“I envisioned this event as an opportunity to explore the unique the arts can contribute to interfaith dialogue”, says Delvyn Case, an American musician and scholar who curated the project as part of his Visiting Fellowship at the Woolf Institute. “Listening to music reminds us of all the things we have in common with each other, no matter who we are or what we believe: the love of beauty, the value of human connection, and our need to explore the deepest questions life poses to us. Using music to help us consider questions of faith and spirituality will be a one-of-a-kind experience for all who attend.”

The event featured new compositions for voice and piano by Ari Ben-Shabetai, an internationally-prominent composer now based in the UK, as well as Case, who serves as Professor of Music at Wheaton College in Massachusetts. These works were performed by baritone Robert Rice, a member of The Cardinall’s Musick, and Calvin Leung, one the UK’s most accomplished young pianists. The third piece, a new song based on an original text, was performed by Samia Malik, a singer-songwriter, workshop leader, and activist known for her emotionally-riveting bilingual Urdu/English songs.

“Each of us has created a new piece of music that explores the theme of ‘creation’ from a religious or spiritual perspective,” says Case. “It’s fascinating to see the unique ways each of us has approached the challenge. Some of us have focused on the ways the theme relates to the basic human urge to create – and how that helps us understand the spiritual dimension of human experience. Others have expressly connected it to the issue of environmental crisis that we all face. Altogether, these pieces demonstrate the unique power of the arts to bring people together in conversation about themes that are relevant to all of us today.”

The performances of the pieces was followed by an informal panel discussion featuring scholars representing each of the three Abrahamic faiths. Cambridge Faculty of Divinity members Prof. Giles Waller and Prof. Timothy Winter (Abdal Hakim Murad) were joined by Dr. Danielle Padley, a Research Fellow at the Woolf Institute. Each of the composers was also present for the event and shared their own thoughts about their music. 

Musician biographies:

Born in Jerusalem, Ari Ben-Shabetai studied composition with Mark Kopytman at the Jerusalem Rubin Academy of Music, and with George Crumb and Richard Wernick at the University of Pennsylvania,U.S.A., where he received a Ph.D. in Composition. Now residing in the UK, for many years he served as head of the Composition, Conducting and Theory Department at the Jerusalem Rubin Academy of Music. His Sinfonia Cromatica won the first prize in the 1994 Israel Philharmonic Orchestra composition competition, and was subsequently performed on tour to Germany, France, Italy, and the U.S.A. with Maestro Zubin Mehta conducting. In 1995 his work Magreffa was commissioned by Maestro Lorin Maazel for the Pittsburgh Symphony Orchestra and was performed both in Pittsburgh and in Jerusalem. A winner of numerous international awards, Dr. Ben-Shabetai was Chairman of the Israel Composer's League for four years, during which period he founded the Israeli Music Center (IMC) publishing house and produced "Psanterin" - a 9 CD Anthology of Israeli piano music.

Born in Saudi Arabia to Pakistani parents, Samia Malik has lived in the UK since she was a child. For over 30 years she has written, performed and produced bilingual Urdu and English songs based on traditional Urdu Ghazal (a highly refined union of poetry with music) extending and subverting the form to explore contemporary issues around identity, race and gender. She has collaborated and toured nationally and internationally with acclaimed world-class musicians, writers and artists including Baluji Shrivastav OBE, Dr Mallika Sarabhai, Giuliano Modarelli, Seemab Gul, Al MacSween, Sukhdeep Dhanjal, Sianed Jones and Cris Cheek. Samia has released five albums: 'The Colour of the Heart' (1998 rereleased 2023), Jaago – Wake Up (2004), Azaadi: Freedom (2017), 'Samia Malik Live at Norwich Arts Centre' (2019), and 'Songs to Heal and Empower' (2023). She also delivers highly successful and popular workshops and performances directly in the community, including to vulnerable groups such as refugees and asylum seekers, women and families being supported by domestic violence organisations, and isolated rural groups.

Delvyn Case is an American musician, scholar, writer, speaker, and educator. He has spent 25 years developing projects for secular and religious audiences that explore music’s unique power to explore questions of spirituality in the contemporary world. His writings on music, faith, and theology have appeared in The Christian Century, Sojourners, Books and Culture, and his work has been featured in Time Magazine, on BBC4’s “Sunday Morning” broadcast, and in the Boston Globe. He has collaborated on projects with the Yale Institute for Sacred Music, the Boston College Centre for Christian-Jewish Learning, the American Academy of Religion, Hebrew College, and many churches and organizations in the UK. He is the founder and executive director of Deus Ex Musca, an international organization that promotes the use of sacred music as a resource for spiritual formation, ecumenism, and interfaith dialogue. In 2024 he spent two terms as a Visiting Fellow at Exeter College, Oxford, and is currently a Visiting Fellow at the Woolf Institute. His music has been performed by over 100 orchestras across the world, including the BBC Scottish Symphony, the Royal Liverpool Philharmonic, and the Hallé Orchestra, as well as by Grammy-winning artists including Richard Stoltzman and the Chestnut Brass Company. A graduate of Yale University and the University of Pennsylvania, Dr. Case currently holds the A. Howard Meneely Endowed Professorship at Wheaton College in Massachusetts, where he conducts the Great Woods Symphony Orchestra.

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Samia Malik - Like A Gift.

David Ackles and After The Fire

 

This weekend I received copies of Mark Brend's Down River: In Search of David Ackles and the After The Fire box set Bright Lights. Both offer fascinating reflections on how creatives can explore aspects of Christian faith in and through popular music.

Down River is described as follows: 

"Down River: In Search Of David Ackles is an illuminating study of mythmaking, the popular music industry, and a forgotten enigma of the 1970s.

In 1972, David Ackles’s third album, American Gothic, was released to a flurry of press plaudits declaring it to be ‘the Sgt Pepper of folk’ and one of the greatest records ever made. Yet the album, like its two predecessors, failed to sell, and after one more record, its creator simply vanished. He found work, raised a family, and died a couple of decades later, having never made another record.

Today, Ackles’s music is largely consigned to the streaming netherworld. It is yet to be properly repackaged and reappraised, and he remains largely unknown. But there is no middle ground. You either love him or you’ve never heard of him. His admirers range from Black Flag’s Greg Ginn to indie polymath Jim O’Rourke to Genesis drummer turned platinum-selling solo artist Phil Collins. In 2003, when Elvis Costello interviewed Elton John for the first episode of his television show Spectacle, the two spoke at some length, and with palpable respect, about Ackles’s great talent, before performing a duet of his ‘Down River’—the same song Collins had selected for Desert Island Discs a decade earlier.

David Ackles did not make rock’n’roll music, and Down River is not a rock’n’roll story. It is a search for an artist who got lost. Not a pretty-good, I-wonder-what-happened-to-him sort of talent, but a man revered as one of the greats. Drawing on conversations with Ackles during the last year of his life as well as full access to archive material, it positions him as one of the great maverick talents of popular music—an equal of Scott Walker and Tom Waits. It seeks to understand the disconnect between his obvious gifts and his commercial failure, and wonders about the fickleness of fame and cult status.

How does this process of retrospective recognition work, and why does it happen for some but not others? Was Ackles’s music just too strange, or might his time yet come? And what do the answers to these questions say about the mythmaking of the popular music industry—and about us, the audience?"

For more on David Ackles see here.

The definitive collection of After The Fire, 'Bright Lights' contains all of the bands five albums as well as demos, B-sides and live tracks, with 12 recordings that are issued here on CD for the first time and 14 that are completely unreleased. The project has been overseen by founding member Peter Banks who, along with members Andy Piercy and John Russell, has been interviewed exclusively for the sleeve notes and has also opened up his photo archive, providing a wealth of rare images.

• Disc One features the band's debut album 'Signs Of Change' as well as bonus tracks.
• Disc Two contains three early demos, previously unreleased on CD as well as 13 previously unreleased demos recorded in preparation for 'Laser Love'.
• Disc Three features 'Laser Love' that includes hit single 'One Rule For You' as well as rare single edits, B-sides and live tracks.
• Disc Four includes '80-f' as well as nine recordings that have never been issued on CD before, including rare B-sides and seven tracks from the original version of '80f'.
• Disc Five contains 'Batteries Not Included' and two bonus tracks.
• Disc Six features 'AT2F', one track unreleased on CD, a completely unreleased track as well as a rare extended version of the band's hit 'Der Kommissar'.

For a review of 'Bright Lights' by Rupert Loydell see here. For more on After The Fire see here.

My co-authored book with Peter Banks from After The Fire, ‘The Secret Chord’, has been described as an impassioned study of the role of music in cultural life written through the prism of Christian belief. 
The book can be purchased from Lulu - https://www.lulu.com/shop/jonathan-evens-and-peter-banks/the-secret-chord/paperback/product-1pey2g67.html?q=peter+banks&page=1&pageSize=4

Covering a range of musical styles and influences, from gospel music to X Factor, The Secret Chord conveys enthusiasm for music and its transformative powers. The book asks is there really a 'Secret Chord' that would both please the Lord and nearly everybody else as described in Leonard Cohen's popular song 'Hallelujah'?

While a significant number of books have been published exploring the relationships between music, art, popular culture and theology - many of which Peter and I have enjoyed and from which we have benefited - such books tend either to academic analysis or semi biography about artistes whose output the writers' enjoy. By contrast, The Secret Chord is an accessible exploration of artistic dilemmas from a range of different perspectives which seeks to draw the reader into a place of appreciation for what makes a moment in a 'performance' timeless and special.

The Secret Chord seeks to explore a number of the dilemmas which musicians and other artists face, not so much in order to map out one route through or around these dilemmas but in an attempt to get the creative juices flowing. Our experience of creativity is of disparate and often contradictory ideas being crushed, swirled, fermented, shaken and stirred in our minds in order that the fine wine of creativity results. Our hope is that The Secret Chord, by exploring artistic dilemmas from a range of different perspectives, will mature in reader’s minds just like fine wine or a precious pearl.

Peter Banks and I wanted to write a book that would be an accessible interesting read but also with sufficient depth to engage those with an interest in academic and theological study. Peter is a successful composer and musician with mainstream chart successes in many countries in the world within his most well known musical collaboration, After The Fire. As well as a musician he has worked in other creative industries and now contributes professionally to various online publications as well as his popular music and technology blog, The BanksyBoy Brief.

Rev Dr Hugh Rayment-Pickard, author and co-founder of IntoUniversity said "Secret Chord is well written, full of wisdom, great quotes and illustrations. It's great to read something about art and Christianity that embraces such diverse material."

Carol Biss, Managing Director of Book Guild Publishing, said “Secret Chord is an interesting and impassioned study of the role of music in cultural life, written through the prism of Christian belief. Covering a huge range of musical styles and influences, from gospel music to X Factor, Secret Chord conveys a great enthusiasm for music and its transformative powers, which readers are sure to find engaging.”

Heather Joy Rowe said it is a highly informative and eye-opening book: 'The writers ... are delving into the arts, mainly looking at the subject from a theological point of view and they have certainly opened my eyes as before reading this book I had a very 'one-dimensional view' of this huge subject.'

Another response noted: "For someone who treats music as art, as something to be understood as an art form within a particular context etc etc, or someone who is themselves creatively active, then it's certainly interesting and worthwhile reading. You might have an epiphany!"

Rod Williamson said: "The book gives a very thoughtful look at the artist's role, inspiration, challenge and so on. There are many examples and anecdotes from popular and classical fields, and beyond the realms of music. As one who wouldn't know the difference between a D minor and a Morris Minor it kept my attention throughout, but I'm sure it would appeal to the Monsieur Highbrow fraternity."

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David Ackles - Be My Friend.

Unique Musical Event Combines Performances of New Compositions with Interfaith Conversation

On July 1 at 6 pm, the Woolf Institute at the University of Cambridge will present a unique musical event that will use music as a springboard for interfaith dialogue.

Entitled “Creation: A World-Premiere Event”, it will feature live performances of new compositions written by musicians from Jewish, Christian, and Muslim backgrounds expressly for this project. The musical offerings will be followed by an engaging roundtable discussion featuring an interfaith collection of scholars and clergy affiliated with Cambridge University. The event is open to all members of the public.

The event will take place at Westminster College in Cambridge. Tickets are available at https://www.woolf.cam.ac.uk/whats-on/events/concert-creation-a-world-premiere-event

“I envisioned this event as an opportunity to explore the unique the arts can contribute to interfaith dialogue”, says Delvyn Case, an American musician and scholar who curated the project as part of his Visiting Fellowship at the Woolf Institute. “Listening to music reminds us of all the things we have in common with each other, no matter who we are or what we believe: the love of beauty, the value of human connection, and our need to explore the deepest questions life poses to us. Using music to help us consider questions of faith and spirituality will be a one-of-a-kind experience for all who attend.”

The event will feature new compositions for voice and piano by Ari Ben-Shabetai, an internationally-prominent composer now based in the UK, as well as Case, who serves as Professor of Music at Wheaton College in Massachusetts. These works will be performed by baritone Robert Rice, a member of The Cardinall’s Musick, and Calvin Leung, one the UK’s most accomplished young pianists. The third piece, a new song based on an original text, will be performed by Samia Malik, a singer-songwriter, workshop leader, and activist known for her emotionally-riveting bilingual Urdu/English songs.

“Each of us has created a new piece of music that explores the theme of ‘creation’ from a religious or spiritual perspective,” says Case. “It’s fascinating to see the unique ways each of us has approached the challenge. Some of us have focused on the ways the theme relates to the basic human urge to create – and how that helps us understand the spiritual dimension of human experience. Others have expressly connected it to the issue of environmental crisis that we all face. Altogether, these pieces demonstrate the unique power of the arts to bring people together in conversation about themes that are relevant to all of us today. This should make for a vibrant conversation.”

The performances of the pieces will be followed by an informal panel discussion featuring scholars representing each of the three Abrahamic faiths. Cambridge Faculty of Divinity members Prof. Giles Waller and Prof. Timothy Winter (Abdal Hakim Murad) will be joined by Dr. Danielle Padley, a Research Fellow at the Woolf Institute.

Each of the composers will also be present for the event and will share their own thoughts about their music.

The event will be followed by a drinks reception open to all. This event is being presented by the Woolf Institute and is co-sponsored by Westminster College, and The Spalding Trust.

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John Pfumojena & Delvyn Case - Come Thou Fount of Every Blessing.

Seen and Unseen: Revisiting Amazing Grace inspires new songs

My latest article for Seen & Unseen is 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:

'The Sorrow Songs, Stolen From God and Grace Will Lead Me Home are three deeply moving and challenging albums, with [Angeline] Morrison and [Cohen] Braithwaite-Kilcoyne as the exceptional musicians linking all three, that tackle the history of the transatlantic slave trade, unearthing both incredible tales and uncomfortable truths. The Church is among the institutions that need most to hear and receive the truths and tales these albums share.'

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.

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Angeline, Cohen and Jon - Grace will lead me home.

The mystery at the heart of music (2)

My original post titled 'The mystery at the heart of music' highlighted 'Surrender', the memoir by Bono, Bob Dylan's 'The Philosophy of Modern Song', 'Faith, Hope and Carnage', Nick Cave's conversation with Sean O'Hagen, and Richard Koloda's 'Holy Ghost: The Life and Death of Free Jazz Pioneer Albert Ayler'. I concluded that, in different ways, these books and the music they describe inhabits the space of genuine mystery and deep yearning that Nick Cave argues is 'at the heart of songwriting.'

To these four, needs to be added, 'Walking Back Home: Deacon Blue and Me' by Ricky Ross. Chris Deerin writes that: 

'Step back, and Ross’s life and trajectory seem ludicrously gilded: early success, Top of the Pops, sell-out stadium gigs, tours of the US, rubbing shoulders with Springsteen and Bono. But this book takes us in closer, to the struggles and the doubts and the losses; to a somewhat repressive upbringing in a Dundee Brethren family; a painful divorce from his first wife; the regrettable explosions of his burgeoning pop star ego; the sudden, unexpected loss of a career and an income; the moments of apparent hopelessness and vanished muse; the tragic death of a bandmate.

Ross is bracingly honest with the reader and himself, and his capacity to learn both from his successes and failures has forged an unusually deep level of wisdom. He is sustained by his religious faith, though is never heavy-handed about that ...

And through it all there has been the music: “The only thing I have ever been fascinated by was the power of a song, and what a song could do to me when it really connected.”'

Paul English in an interview for The Scotsman suggested to Ross that the pursuit of joy, 'whether on stage in front of 250,000 headlining Glasgow’s Big Day in 1990 or visiting slums in Brazil with Christian Aid', was a recurring theme in the book. Ross responded that: 

'It’s the constant search in the book ... I think that’s the search for most people – to realise when you are happy, to realise when life is good. I don’t want to use the cliche of Calvinism, but there is a sense in which sometimes that can dominate our lives, that somehow you deny yourself.

I think you have to allow yourself to celebrate these moments. I talk about a gig we played in Kilmarnock prison, and the chaplain Fr Joe Boland saying to me that where there’s joy there’s God. And that was such a great thing.”

Greg Clarke in an article on Bono, Nick Cave, and their spiritual quests based on their books writes that: 'Submit, surrender, let God be God, recognise a higher power. These are the concluding observations of two of the most famous musicians of the past forty years. It’s not very rock and roll.' 

But it maybe that these five books appearing together indicates that such observations are actually very rock and roll; something that should come as no surprise as rock, soul, and R&B grew from the roots of gospel through artists such as Sam Cooke, who transitioned from gospel to secular music, Sister Rosetta Tharpe and her early rock stylings, and Elvis Presley, who helped expose white audiences to gospel music. Examples of some of the most beloved contemporary pop music of the last 60 years, from artists such as Aretha Franklin, Paul Simon, and Ray Charles, illustrate gospel music’s ongoing influence.

Add to these roots: first, the Church's appropriation, beginning with the career of Larry Norman, of rock and pop to speak explicitly about Christian faith; second, a growing appreciation for and understanding of the biblical language and imagery of stars like Bob Dylan, Van Morrison and Bruce Springsteen; and third, musicians from After The Fire and Bruce Cockburn to U2 and Deacon Blue, in the words of T Bone Burnett, singing about the world as seen through the light (of Christ) as opposed to singing about the light (of Christ) as CCM artists did. These all take us to a place where the embrace and examination of Christianity in these books is perhaps as rock and roll as sex and drugs have been.

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Deacon Blue - Keeping My Faith Alive.

Church Times - Art review: Football and Religion: Tales of Hope, Passion and Play (Aga Khan Centre)

My latest review for Church Times is Football and Religion: Tales of Hope, Passion and Play by Ed Merlin Murray at the Aga Khan Centre Gallery:

'IF ONE were to be told of a current football exhibition with women footballers featuring as its main image, expectations would be high for an image of the Lionesses victorious at the Euros in the summer. The very different focus of this exhibition becomes apparent in that the key image features the Shimshali sisters — Sumaira Inayat and Karishma Inayat — who have, since 2018, run the Gilgit-Baltistan Girls Football League, Pakistan’s first women-led girls football tournament.

The sisters are Muslims, and this exhibition, as a whole, focuses primarily on the current contribution of Muslims and Christians to football, together with an archive display highlighting both Jewish and Christian contributions. The stories of Muslim women footballers included are one key aspect of an exhibition that challenges stereotypes on several levels. As Karishma says, “I am representing a region that lacks basic facilities yet encourages its daughters to play football and break the patriarchy.”

The exhibition features many stories of hope, passion, and play in the lives of players and professionals, both female and male. These stories are presented through a series of new artworks created by visual artist, illustrator, and animator, Ed Merlin Murray.'

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?

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New Order - World In Motion.

Church Times - Art review: Michael Forbes, Blk this & Blk that . . . a state of urgency, at the Djanogly Gallery, Nottingham

My latest review for Church Times is Michael Forbes, Blk this & Blk that . . . a state of urgency, at the Djanogly Gallery, Nottingham:

'ON ENTERING Gallery 1A at the Djanogly Gallery, one sees a series of dismembered torsos — the arms of all the figures being absent — of the crucified Christ in cast Jesmonite, primarily white, but with gold and pink also used, and hung upside down from ropes the ends of which trail across the floor. In this, the largest sculptural installation here, some of the torsos wear life jackets, pointing to recent political and humanitarian events.

Untitled I highlights “how the white European male has dominated the image of Christ” and challenges white viewers with the question how they “reconcile exemplifying Christ whilst reaping unjust benefits from being white”. Forbes has, for many years, questioned this aspect of religion, “believing that it is morally and theologically incumbent upon Christians to realise how whiteness confers privileges that have an impact on the lives of black people and people of colour”. The installation (through the inclusion of life jackets) raises these questions in relation to the legacies of the slave trade and also the current refugee crisis.'

Click here for my Artlyst diary for October which also includes this exhibition.

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?

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Ben Harper - With My Own Two Hands.

The Group of Seven

"The Group of Seven (sometimes referred to as the Algonquin School) was Canada's first internationally recognized art movement." They were "a group of Canadian landscape painters from 1920 to 1933, originally consisting of Franklin Carmichael (1890–1945), Lawren Harris (1885–1970), A. Y. Jackson (1882–1974), Frank Johnston (1888–1949), Arthur Lismer (1885–1969), J. E. H. MacDonald (1873–1932), and Frederick Varley (1881–1969). Later, A. J. Casson (1898–1992) was invited to join in 1926, Edwin Holgate (1892–1977) became a member in 1930, and LeMoine FitzGerald (1890–1956) joined in 1932.

Two artists commonly associated with the group are Tom Thomson (1877–1917) and Emily Carr (1871–1945). Although he died before its official formation, Thomson had a significant influence on the group. In an essay, Harris wrote that Thomson was “a part of the movement before we pinned a label on it”; Thomson’s paintings The West Wind and The Jack Pine are two of the group’s most iconic pieces. Emily Carr was also closely associated with the Group, though never an official member."

"The Group was united in the belief that a distinct Canadian art could be developed through direct contact with the country's vast and unique landscape." Christopher Varley and Russell Bingham write that "The group presented the dense, northern boreal forest of the Canadian Shield as a transcendent, spiritual force." MacDonald stated that the Group's aim was "to paint the soul of things [...] the inner feeling rather than the outward form".

"For the Group of Seven, the landscape became akin to a religion. Varley and Harris particularly venerated nature, finding God's immanence within it. From their paintings, Dr. Salem Bland, a leading liberal theologian, stated that he felt, "as if the Canadian soul was unveiling to me something secret and high and beautiful which I had never guessed; a strength and self-reliance, depth and mysticism I had not suspected." Katerina Atanassova says “There is a great deal of spirituality in early twentieth century Canadian art, Varley was very influenced by Buddhism, and many of Lawren Harris’s paintings are based on theosophic principles.”

Jim Friedrich notes that, in 1927, Emily Carr saw an exhibition by the Group and that night wrote in her journal: "Oh, God, what have I seen? Where have I been? Something has spoken to the very soul of me, wonderful, mighty, not of this world. Chords way down in my being have been touched. . . Something has called out of somewhere. Something in me is trying to answer." Carr, at age 56, would go on to begin her most productive period as a painter, exploring the unique spirituality of Canadian landscapes.

Margaret Hirst writes that "Carr yearned to find and express God, and Lawren Harris ... was the catalyst for her great spiritual journey. In addition, Harris befriended and encouraged Carr, offered technical advice, and introduced her to philosophies such as Theosophy and the transcendental poetry of Walt Whitman." "An awe of great expanses became a crucial component of Carr’s religious expression, as she moved away from paintings of native scenes and totems toward a focus on the timbers and skies of the woods. Though Christian, Carr retained the Pantheistic tendencies born in her girlhood, hearing “the myriad voices of God shouting in one great voice: ‘I am one God.... I am heaven. I am earth. I am all in all’.” Her developing religious devotion began to permeate her art." "As she developed her technical skills and style, expression of the Almighty remained foremost in her artistic purpose. By 1934 she could write: “I am painting my own vision now, thinking of no one else’s approach.” Carr had synthesized her faith into a personal, non-dogmatic Christianity, accented by traces of Pantheism, all of which would be reflected in her famous “sky” paintings."

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Bruce Cockburn - Hills of Morning.

Artlyst - Ali Cherri: Artist in Residence National Gallery

My latest review for Artlyst 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 -

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

Articles -

• Audrey Flack Carlo Crivelli And Robert Indiana – March Diary
• Surrealism Outside The Usual Story – Tate Modern
• Marcus Lyon Creates Fields of Vision At St Martin-in-the-Fields London
• My Art Diary And Other Thoughts February 2022
• Van Gogh Self Portraits The Infinite And The Ordinary
• Marvellous Icons: The London Jesuit Centre
• And On An Art Note: End Of Year Diary 2021
• Albrecht Dürer Travels Of A Renaissance Artist – National Gallery London
• Diasporan Identities: Life Between Islands Caribbean British Art – Tate Britain
• Isamu Noguchi: Socially Engaged Art – Barbican Centre
• Pablo Bronstein: A This-World Vision Of Hell
• Bosco Sodi: In The Beginning Of Wisdom
• George Condo Lockdown Works Hauser & Wirth
• Theaster Gates Clay As A Profound Metaphor
• Mark Rothko: Mesmerising And Intimate Works On Paper
• International Autumn Art Exhibition Reviews
• Roger Cecil: A Once In A Generation Welsh Painter
• Tino Sehgal: Location, Nature And Pandemic – Blenheim Palace
• Michael Armitage And The Power Of Art – Royal Academy
• Marie Raymond And Post-War Avant Garde Painting In Paris
• Rachel Kneebone: A Complex Tableau Of Organic And Geometric Forms
• Rodin: Suffering And Conflict – Tate Modern
• Barbara Hepworth: Symbols Of Art & Life – Hepworth Wakefield
• 20th Century Women Artists Challenging Conventions In Britain
• Chaiya Art Awards 2021 Gallery OXO
• Marc Chagall’s Exquisite Stained Glass Window Commissions
• George Gittoes Equal parts artist and warrior
• Keith Haring: Personal Spiritual Imagery
• Sean Scully: Philosophical Poetic Pastoral The 12 / Dark Windows
• Arthur Jafa: The Art Of Cutting And Pasting
• Blackpentecostal Breath: Spirit-Led Movement Jumps From Music To Visual Art
• Made in USA Ed Ruscha An American Perspective
• Robert Smithson: The Archetypal Nature Of Things
• If Jesus Is A Man Of Colour Why Did We Make Him Aryan?
• Cosmic Patches And Quilts Five Exhibitions
• Everyday Heroes: Southbank Exhibition Celebrates Low-paid Key Workers
• Entwining Spiritualism And Art – Three Shows
• Of Church And The Visual Arts
• Has The Word Master Reached Its Sell-By Date?
• The People Behind Community Is Kindness Billboard Campaign
• André Daughtry: Art, Rebellion And Racial Justice
• Salisbury Cathedral 800 Years Of Art And Spirit
• Home Alone Together Twenty Five Artists
• Botanical Mind Online: Art, Mysticism and the Cosmic Tree
• Salvador Dalí The Enigma of Faith
• Art And Faith A Time For Seeing
• Andy Warhol: Catholicism His Work, Faith And Legacy
• Kiki Smith: Embodied Art
• Art and Christianity Awards A Positive New Millennium Legacy
• Arnulf Rainer: 90th Birthday Exhibition Celebrated At Albertina Museum
• A Belonging Project And Exiles Loss and Displacement
• Robert Polidori: Fra Angelico Opus Operantis
• Art, Faith, Church Patronage and Modernity
• Contemplating the Spiritual in Contemporary Art
• Mat Collishaw Challenges Faith Perspectives With Ushaw Installation
• Waterloo Festival Launches At St. John’s Waterloo
• John Bellany Alan Davie Spiritual Joy and Magic
• RIFT Unites 17 Art and Science MA Graduates At Central St Martins
• Visionary Cities: Michael Takeo Magruder – British Library
• Van Gogh’s Religious Journey Around London
• William Congdon Holy Sites And The Kettle’s Yard Connection
• Mark Dean Premieres Pastiche Mass At Banqueting Hall Chelsea College of Arts
• John Kirby: The Torment
• Underlying The Civilised Facade
• Curating Spiritual Sensibilities In Changing Times
• Homeless Highlighted: New Beau Exhibition At St Martin-in-the-Fields
• Ken Currie: Protest Defeat And Victory
• Bosco Sodi: A Moment Of Genesis
• Bill Viola And The Art Of Contemplation
• Art In Churches 2018: Spiritual Combinations Explored
• Sister Wendy Beckett – A Reminiscence
• Guido Guidi: Per Strada Flowers Gallery London
• Peter Howson: The play is over – Flowers Gallery
• Camille Henrot: Scientific History And Creation Story Mash Up
• Nicola Green Explores Recent And Contemporary Religious Leaders – St Martin-in-the-Fields
• Art And The Consequences Of War Explored In Two Exhibitions
• Helaine Blumenfeld Translating Her Vision
• Sam Ivin: Physically Scratched Portraits Of Asylum Seekers Exhibited
• Sacred Noise: Explores Religion, Faith And Divinity
• Bill Viola: Quiet Contemplative Video Installation St Cuthbert’s Church Edinburgh
• The ground-breaking work of Sister Corita Kent
• Picasso To Souza: The Crucifixion Imagery Rarely Exhibited
• Michael Takeo Magruder: De / coding the Apocalypse – Panacea Museum
• Giorgio Griffa: The Golden Ratio And Inexplicable Knowledge
• Arabella Dorman Unveils New Installation At St James Church Piccadilly
• Can Art Transform Society?
• Art Awakening Humanity Conference Report
• Central St Martins in the Fields Design Then And Now
• The Sacramental And Liturgical Nature Of Conceptual Art
• Polish Art In Britain: Centenary Marked At London’s Ben Uri Gallery
• Refugee Artists: Learning from The Lives Of Others
• The Religious Impulses Of Robert Rauschenberg
• The Christian Science Connection Within The British Modern Art Movement
• Artists Rebranding The Christmas Tree Tradition
• Art Impacted - A Radical Response To Radicalisation
• The Art of St Martin-in-the-Fields
• Was Caravaggio A Good Christian?

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Leonard Cohen - Who By Fire.