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Showing posts with label climate change. Show all posts
Showing posts with label climate change. Show all posts

Sunday, 26 July 2026

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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Sunday, 19 July 2026

Creation waits for the revealing of the children of God

Here's the sermon that I shared this morning at St Gabriel's Pitsea:

We live in a world that, as St Paul described in Romans 8.12-25, is groaning because of its enslavement to decay and futility. What the Bible describes as the effects of sin impacts the world in terms of: our propensity to engulf the nations of the world in conflict; our greed which leaves some nations and individuals with too much by way of resources and others with too little; and our thirst for energy which has changed the climate in ways that threaten sustainability.

St Paul says that the solution to this is to be found in the reality and realisation that we are children of God. The creation, he writes, ‘waits with eager longing for the revealing of the children of God’ and it is only as the children of God are revealed that ‘the creation itself will be set free from its enslavement to decay and will obtain the freedom of the glory of the children of God’.

This is because we naturally tend, as human beings, toward living life selfishly by putting ourselves first and looking after No. 1. This is what scientists describe when they talk about us having selfish genes which get us ready to live in a world that is about the survival of the fittest.

Jesus shows us a new and different way of being human, however. He gave his life so that everyone who believes in him may not die but have eternal life. Jesus allowed his own life to end so that all people could know what it is like to really live. Not to live in the old, selfish, self-centred way of being human but to live in his new way of being human, loving God with all our being and loving our neighbours as ourselves.

It is this way of life that we enter when we realise we are God’s children and are baptised. When Jesus was baptised (Mark 1.9-15), he saw heaven opening, the Spirit coming down on him like a dove, and he heard a voice from heaven saying, “You are my own dear Son. I am pleased with you.” As he was baptised, he was immediately affirmed as God’s Son.

It is easy for us to think that that only applies to Jesus. That it was a special word spoken by God the Father especially to him and, on one level, no doubt it was. But the Bible makes it quite clear that Jesus came into our world and laid down his life to make us one with God so that, as Christians, we are Jesus’ brothers and sisters, members of the same family – God’s family – and co-heirs with Jesus of everything that he has.

Let’s remind ourselves of what St Paul says about this in Romans 8. 14-17: “Those who are led by God's Spirit are God's children. For the Spirit that God has given you does not make you slaves and cause you to be afraid; instead, the Spirit makes you God's children, and by the Spirit's power we cry out to God, Father! my Father! God's Spirit joins himself to our spirits to declare that we are God's children. Since we are his children, we will possess the blessings he keeps for his people, and we will also possess with Christ what God has kept for him …”

So, baptism is about moving from the old way of being human to Jesus’ new way of being human. It is about dying to the old purely materialistic way of life and taking up the new way of life which Jesus shows to us. We ask those who are baptised to: continue in the apostles’ teaching and fellowship, in the breaking of bread, and in the prayers; persevere in resisting evil, and, whenever we fall into sin, repent and return to the Lord; proclaim by word and example the good news of God in Christ; seek and serve Christ in all people, loving our neighbour as ourself; acknowledge Christ’s authority over human society, by prayer for the world and its leaders, by defending the weak, and by seeking peace and justice; so that Christ may dwell in our hearts through faith, that we may be rooted and grounded in love and bring forth the fruit of the Spirit. We ask this because, as Jesus said, it is by their fruits (their deeds) that true Christians will be known.

When we do these things we begin living the new way of life to which Jesus calls us and we are revealed as the children of God. As we live differently, selflessly, we impact the planet in different ways that are positive, not negative. This is why St Paul says the world is waiting ‘with eager longing for the revealing of the children of God’.

James Thwaites has written about this passage in Romans suggesting that the creation is crying out: ‘for its goodness to be fully realised and fully released. The creation cannot be good apart from the sons and daughters because we alone were given the right to name it; we are the image bearers who were made to speak moral value and divine intent into it. We were created to draw forth the attributes, nature and power of God in all things.’

He writes about the cry of sonship, pointing out that, because Christians have received the Spirit of adoption, they are sons and daughters of God who cry out "Abba, Father". He argues that this identity releases believers from fear and calls them into an eternal inheritance. 

He also notes the cry of creation and suggests that the physical creation is actively crying out for the full realization of its goodness. He argues that humans were made to be image-bearers who bring out the inherent possibilities and divine intent of the world through their everyday work and creativity. This is the task that we all have as human being and the calling on our lives our baptism. 

Then, he writes about the divine purpose in "all things". He looks at the phrase "all things work together for good" as proof of God's intimate involvement in the physical world and God's call for believers to engage with creation to bring it to its fullness. Ultimately, Thwaites uses Romans 8 to argue that followers of Jesus should stop treating the physical world as something to be abandoned. Instead, he believes Christians are tasked with noticing and nurturing God's goodness in their everyday lives and vocations.

This is the purpose for which we were created and for which the creation itself is crying out. 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. This is what we celebrate today and what we are challenged to be and to become as we begin to live the new way of being human that was first shown to us by Jesus Christ. Amen.

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Steve Scott - Different Kind Of Light  

Saturday, 11 July 2026

International Times - Reconstructed Landscape{s} Michael Takeo Magruder

My latest exhibition review for International Times is on 'Michael Takeo Magruder: Reconstructed Landscape{s}’ at Gazelli Art House Project Space:

'His works, therefore, manage the complex and tricky task of relating, at one and the same time, to the landscape tradition in art history, debates about the development and uses of AI, and the science documenting the increasing fragility of environments impacted by climate change. That six works in a small, dark, basement room can open out into such expansive terrain is a huge achievement that is reflective of the way that Takeo combines creativity and vision with an integrity of process that is consistently driven through the detail of his designs.'


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

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Steve Scott - Sun Poem.

Friday, 3 October 2025

Visual Commentary on Scripture: Bible and Art Daily

The Visual Commentary on Scripture is launching a brand new daily email exploring the Bible through art. Through concise but vivid day-by-day encounters, Bible and Art Daily will take you on a series of journeys through the world of Scripture and the history of art.

The VCS have spent the last year bringing together experts in theology and art history to carefully curate a treasury of week-long series, each exploring a particular theme, an artistic medium, or a biblical character. Find out more and subscribe here.

The VCS is a freely accessible online publication that provides theological commentary on the Bible in dialogue with works of art. It helps its users to (re)discover the Bible in new ways through the illuminating interaction of artworks, scriptural texts, and commissioned commentaries. The virtual exhibitions of the VCS aim to facilitate new possibilities of seeing and reading so that the biblical text and the selected works of art come alive in new and vivid ways.

Each section of the VCS is a virtual exhibition comprising a biblical passage, three art works, and their associated commentaries. The curators of each exhibition select artworks that they consider will open up the biblical texts for interpretation, and/or offer new perspectives on themes the texts address. The commentaries explain and interpret the relationships between the works of art and the scriptural text.

Find out more about the VCS, its exhibitions and other resources through a short series of HeartEdge workshops introducing the VCS as a whole and exploring particular exhibitions with their curators. These workshops can be viewed hereherehere and here.

My first exhibition for the VCS was 'Back from the Brink' on Daniel 4: 'Immediately the word was fulfilled upon Nebuchadnezzar. He was driven from among men, and ate grass like an ox, and his body was wet with the dew of heaven till his hair grew as long as eagles’ feathers, and his nails were like birds’ claws.' (Daniel 4:33). In the exhibition I explore this chapter with William Blake's 'Nebuchadnezzar', 1795–c.1805, Arthur Boyd's 'Nebuchadnezzar's Dream of the Tree', 1969, and Peter Howson's 'The Third Step', 2001.

My second exhibition was 'A Question of Faith' and explored Hebrews 11 through the paintings of New Zealand artist Colin McCahon. McCahon is widely recognised as New Zealand’s foremost painter. Over 45 years, his work encompassed many themes, subjects and styles, from landscape to figuration to abstraction and an innovative use of painted text. His adaption of aspects of modernist painting to a specific local situation and his intense engagement with spiritual matters, mark him out as a distinctive figure in twentieth-century art.

My third exhibition was 'Fishers of People'. This exhibition uses Damien Hirst's 'Isolated Elements Swimming in the Same Direction for the Purpose of Understanding (Left) and (Right)', John Bellany's 'Kinlochbervie', and Paul Thek's 'Fishman in Excelsis Table' to discuss Matthew 4:12-22 and Mark 1:14-20. These artworks give us what is essentially a collage of the kingdom whereby we are invited to imagine the kingdom of God as a body of water in which Christians are immersed and through which they are raised.

The fourth exhibition I curated for the VCS was 'Before the Deluge', a series of climate-focused commentaries on Genesis 6 looking at 'The Flood' by Norman Adams, 'Noah in the Ark and a Church' by Albert Herbert, and 'Noah's Ark' by Sadao Watanabe.

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The Ocean Blue - Sublime.

Friday, 29 August 2025

Visual Commentary on Scripture - 'Before the Deluge'

The fourth exhibition I have curated for the Visual Commentary on Scripture (VCS) is now live on the VCS website. 'Before the Deluge' is a series of climate-focused commentaries on Genesis 6 looking at 'The Flood' by Norman Adams, 'Noah in the Ark and a Church' by Albert Herbert, and 'Noah's Ark' by Sadao Watanabe.

My first exhibition for the VCS was 'Back from the Brink' on Daniel 4: 'Immediately the word was fulfilled upon Nebuchadnezzar. He was driven from among men, and ate grass like an ox, and his body was wet with the dew of heaven till his hair grew as long as eagles’ feathers, and his nails were like birds’ claws.' (Daniel 4:33). In the exhibition I explore this chapter with William Blake's 'Nebuchadnezzar', 1795–c.1805, Arthur Boyd's 'Nebuchadnezzar's Dream of the Tree', 1969, and Peter Howson's 'The Third Step', 2001.

My second exhibition was 'A Question of Faith' and explored Hebrews 11 through the paintings of New Zealand artist Colin McCahon. McCahon is widely recognised as New Zealand’s foremost painter. Over 45 years, his work encompassed many themes, subjects and styles, from landscape to figuration to abstraction and an innovative use of painted text. His adaption of aspects of modernist painting to a specific local situation and his intense engagement with spiritual matters, mark him out as a distinctive figure in twentieth-century art.

My third exhibition was 'Fishers of People'. This exhibition uses Damien Hirst's 'Isolated Elements Swimming in the Same Direction for the Purpose of Understanding (Left) and (Right)', John Bellany's 'Kinlochbervie', and Paul Thek's 'Fishman in Excelsis Table' to discuss Matthew 4:12-22 and Mark 1:14-20. These artworks give us what is essentially a collage of the kingdom whereby we are invited to imagine the kingdom of God as a body of water in which Christians are immersed and through which they are raised.

The VCS is a freely accessible online publication that provides theological commentary on the Bible in dialogue with works of art. It helps its users to (re)discover the Bible in new ways through the illuminating interaction of artworks, scriptural texts, and commissioned commentaries. The virtual exhibitions of the VCS aim to facilitate new possibilities of seeing and reading so that the biblical text and the selected works of art come alive in new and vivid ways.

Each section of the VCS is a virtual exhibition comprising a biblical passage, three art works, and their associated commentaries. The curators of each exhibition select artworks that they consider will open up the biblical texts for interpretation, and/or offer new perspectives on themes the texts address. The commentaries explain and interpret the relationships between the works of art and the scriptural text.

Find out more about the VCS, its exhibitions and other resources through a short series of HeartEdge workshops introducing the VCS as a whole and exploring particular exhibitions with their curators. These workshops can be viewed here, here, here and here.

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The Fire Theft - Sinatra.

Wednesday, 30 October 2024

The narrow way and the climate emergency

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

''Sir David Attenborough issued a warning ahead of the UN climate summit in Glasgow in 2021 that leaders must act now or “it’ll be too late” for the planet.

Cop26 was billed as the last best chance to keep global temperature rises to no more than 1.5C, with Sir David critical of those who deny the climate crisis. In conversation with BBC science editor David Shukman, the naturalist and broadcaster said: “Every month that passes, it becomes more and more incontrovertible, the changes to the planet that we are responsible for that are having these devastating effects.” He added: “If we don’t act now, it will be too late. We have to do it now.”'

There is a narrow window in which we can change. The time is short, and the gate is narrow, as Jesus said to his disciples in our Gospel reading ((Luke 13.22-30).

When he spoke those words, Jesus knew his time was limited. He knew Jerusalem and death was fast approaching. He knew that through his ministry in Israel God's people were being given an opportunity to respond in a new way, yet the opportunity would not be there for long. Therefore, he and his disciples travelled the length and breadth of Israel in the three years before his crucifixion to share the good news of the opportunity that was before the people but only for a short time.

They went with the message that ‘The Kingdom of God is near you now.’ Now was the time when the Kingdom of God could be seen and touched and experienced because now was the time that God himself was with them. He sent his disciples ahead of him to say that the Kingdom of God was coming near, that it would be experienced in the time when he arrived. So, the time to respond and experience and join was now.

The Gospels, therefore, are full of urgency. Jesus' parables are stories of decision, stories in which people find out that time has beaten them and the moment for response has passed. Are we like, the wise or foolish bridesmaids? Those that were ready for the coming of the bridegroom, or not? Are we like, the farmer who built his big barns planning to eat, drink and be merry but whose life was demanded of him that night? Or will we be like the Prodigal Son who realised change was possible and seized the moment by returning to his father and being reconciled.

Life consistently challenges us to decide in the moment. If there is one thing that the pandemic taught us, it is that life is short, and we do not know what is around the corner. Therefore, we should not put off what we know we should do today. Our time is short, the gate is narrow, the time for decision is now.

That's certainly the case in regard to the climate emergency. Global efforts to tackle climate change currently are wildly off track the UN has said, as new data shows that warming gases are accumulating faster than at any time in human existence.

UN Climate Change, the UN agency tasked with addressing the issue, carried out an analysis on the carbon cutting plans that have been submitted by close to 200 countries. The UN wanted to see how much progress is being made in driving down emissions that are threatening to push global temperatures well above 1.5C this century, a level beyond which scientists say extremely damaging impacts will occur.

Right now, when the plans are added up, they indicate that emissions will likely fall by just 2.6% by 2030 compared to 2019. This is far short of the 43% reduction that scientists say will be needed by the end of this decade to keep the world on track for net-zero carbon by 2050.

“The report’s findings are stark but not surprising,” said Simon Stiell, executive secretary of UN Climate Change. “Current national climate plans fall miles short of what’s needed to stop global heating from crippling every economy, and wrecking billions of lives and livelihoods across every country.”

“The climate is changing fast," says Marina Romanello, executive director of the Lancet Countdown. “At the moment, we are still in a position to just about adapt to the changes in the climate. But it is going to get to a point where we will reach the limit of our capacity. Then we will see a lot of unavoidable impacts.” "The higher we allow the global temperature to go, the worse things are going to be”.

We are still in the narrow window of time available to us in relation to the climate emergency, although Cop26 and subsequent conferences have clearly not yet delivered the scale or urgency of action required. In the words of the singer-songwriter Lou Reed:

'This is no time to ignore Warnings
This is no time to clear the Plate
Let's not be sorry after the fact
And let the past become our fate

This is no time for phony Rhetoric
This is no time for political Speech
This is a time for action
Because the future's within Reach'

So, just as Jesus stated in relation to his own mission, we too need to strive to enter through the narrow door; for many, I tell you, will try to enter and will not be able because by then it will be too late. In our current situation, that prediction would be a disaster for the generations that follow us. Amen.

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Lou Reed - There Is No Time.

Saturday, 2 December 2023

'Leviathan' - Salisbury Cathedral

















Leviathan is an exhibition by Shezad Dawood at Salisbury Cathedral which explores the interaction between migration, mental health, and climate change through thought-provoking paintings, textiles, video and sculpture. The magnificent setting of Salisbury Cathedral and Chapter House offers a contemplative space to reflect upon worldwide issues and ethical questions, something Dawood’s work seeks to encourage.

Where do we go now? is the title of a poignant sculpture placed within the 1215 Magna Carta exhibition space. It presents sailors on a small boat encountering a whale, representing the State. The whale threatens to destroy the vessel and prompts the sailors to throw a barrel overboard to distract it, representing their labour. Where do we go now? encourages visitors to consider the legacy of Magna Carta and the rights and freedoms of refugees.

Dawood’s short films, displayed in two of the Cathedral’s chapels, are set in the Brazilian Atlantic Forest and explore the ways in which all beings and the earth are connected. The artist writes: “We need to have empathy not just for other people living in our world but also for the vast array of animal and plant life who are victims of the way we treat our world.”

A central part of the exhibition is a collection of textile paintings hung along the Cathedral’s grand nave. The paintings depict personal possessions recovered from the seabed after a refugee ship was foundered, such as photographs and a passport. They are tribute to lives lost and those that were saved, prompting visitors to consider how we can find new reserves of empathy and think about ourselves as one humanity.

The Cathedral is also bursting with art in various forms: painting, sculpture, architecture, textiles and more. This includes their unique font designed by renowned British water sculptor William Pye and Barbara Hepworth's Construction (Crucifixion).

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John Tavener - The Whale.

Friday, 18 August 2023

Artlyst: A World In Common: Contemporary African Photography - Tate Modern

My latest exhibition review for Artlyst is on ‘A World In Common: Contemporary African Photography’ at Tate Modern:

'‘A World In Common: Contemporary African Photography’ at Tate Modern draws on the theories of Cameroonian philosopher Achille Mbembe (born 1957) by inviting us to imagine “a world in common”. To do this, Mbembe claims, we must “think the world from Africa”. ‘A World In Common’ explores Africa’s past, present and future to create a more expansive and inclusive narrative of humanity. It suggests that to conceive “a world in common” is to imagine a future of possibility. Unfolding across three chapters – Identity and Tradition, Counter Histories and Imagined Futures – the exhibition charts the dialogue between photography and contemporary perspectives on cultural heritage, spirituality, urbanisation, and climate change to reveal shared artistic visions that reclaim Africa’s histories and reimagine its place in the world.'

For recent exhibitions exploring similar themes, see my reviews of In The Black Fantastic at the Hayward Gallery and Rites of Passage at the Gagosian Gallery.

My other pieces for Artlyst are:

Interviews -
Monthly diary articles -

Articles/Reviews -
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Jide Chord - Gospel Vibes.

Wednesday, 12 April 2023

Artlyst: The Art Diary April 2023

My April Art Diary for Artlyst features Mark Dean's ‘Process/Rehearsal/Performance’, ‘Where Our Paths Meet – Articles of Faith Exhibition’ and ‘Death to Life: Image, Expression & Symbolism’, ‘ADORE’ at the Arnolfini, ‘This Fragile Earth: How pioneer Scottish Artists anticipated the climate crisis’ at Coventry Cathedral, 2023 Chaiya Art Awards Exhibition at OXO and Bargehouse galleries, ‘Richard Kenton Webb Vol. 5, Drawings from the Albers Series and Paintings from the Ongoing Manifesto Series’ at Benjamin Rhodes Arts, and ‘Alexej von Jawlensky in Ascona "… The three most interesting years on my life …”' at Museo D’Arte Della Svizzera Italiana:

'In the late 1980s and early 1990s, I remember visiting the Benjamin Rhodes Gallery to see work by Richard Kenton Webb, who was a pioneer in connecting art and spirituality. Kenton Webb recalls that Benjamin Rhodes first walked into his life at an exhibition at The Royal Overseas League when he was in his second year MA at the Royal College of Art in 1985. He says he “was extremely fortunate to have a London dealer, and Benjamin is amongst the best”, so is grateful to be exhibiting with Rhodes again for ‘Richard Kenton Webb Vol.5 – Drawings from the Albers Series & Paintings from the ongoing Manifesto Series’.

The show covers ten drawings from the ‘Manifesto of Painting’ series made on his recent Albers Foundation residency, and six recent paintings – two of these are triptychs, all made in Kenton Webb’s new studio in Plymouth. In the 50 days of residency at the Albers Foundation, Kenton Webb made 72 drawings, a body of work about his teaching philosophy. He has a concern “that painting, drawing, and printmaking are misunderstood and greatly under-valued.” He views these embodied activities as being “so essential for our wellbeing, and yet they are frequently contested at the highest levels of education in favour of the digital and word-based outcomes.”'

See also my Artlyst interview with Mark Dean and other articles (here and here), 'Reconciliation', the exhibition I organised at Coventry Cathedral, my Artlyst interview with Chaiya Art Awards founder Katrina Moss and other pieces on the Chaiya Art Awards (here, here, here and here), and other mentions of David Miller (here, here and here).

My other pieces for Artlyst are:

Interviews -
Monthly diary articles -
Articles/Reviews -
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