Showing posts with label doors. Show all posts
Showing posts with label doors. Show all posts
Monday, 22 October 2018
A Year Outdoors
The church of the ever open door (St Martin-in-the-Fields) has received 10 painted doors as part of A Year Outdoors, an initiative by conceptual artist Beau to raise awareness of the increase in the numbers of street homeless throughout the UK.
To Beau, a front door symbolises having a place to live – something which many people across the UK do not have access to. “Everyone should have a door and if not we need to look at our own to imagine being without it," he explains. These doors speak of the critical situation of poverty and homelessness found in the UK’s cities today where cuts to housing, mental health and social services are driving more and more people into critical situations. “There are almost twice as many people without a home than there was this time five years ago. This is happening right around us, yet we walk on past. I hope Outdoors will act as a catalyst for conversation. Across the UK, we’re experiencing many of the same problems, in different cities. Hopefully things like Outdoors will help bridge the growing gap between us all.”
The reclaimed front doors were originally exposed to a year on the streets by being hung across the streets of Bristol during 2017. Hung in plain sight on the city streets they were, in the main, ignored by passers-by, although street-art culture did adopt some of the sites integrating them into graffiti artworks. The lack of attention originally paid to these doors is symbolic of the hidden homeless community who are often out of sight – sofa surfing, crashing with friends, staying in squats or communal homes, hostels and long-term B&B residences, all forms of homelessness often experienced for years.
Now, attention from well-known artists from across the globe (such as Ralph Steadman, China Mike, Will Barras, Alex Lucas and Jane McCall) has helped breathe new life into the doors. The doors are being exhibited around the country before being auctioned off in December 2019, with The Connection at St Martin-in-the-Fields one of the homeless charities that will benefit from the project.
The Connection at St Martin’s works with approximately 4,000 homeless people every year to move away from, and stay off the streets of London. Central London attracts thousands of vulnerable people, who wish to start their lives over or believe there are more opportunities available to them here. If these do not materialise, people can find themselves at risk of homelessness. The Connection at St Martin’s works with people to overcome their homelessness through a range of specialist day and night services which empower people living on the edges of society to take control of their lives and achieve recovery.
Organisations like The Connection at St Martin’s can open doors to accommodation and work for those who usually have to bed down outside closed front doors, The literal and symbolic resonances of doors mean that this installation is a conversation starter about the real issues facing rough sleepers and the significance of the rise in numbers of street homeless. Catalyzing these conversations is the concept underlying Beau’s installation.
Outdoors is in the Courtyard at St Martin-in-the-Fields until 31 October.
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Michael McDermott - Shadow In The Window.
Labels:
accommodation,
art,
artists,
beau,
bristol,
conceptual art,
conversations,
doors,
homelessness,
installation,
st martin in the fields,
the connection,
work
Saturday, 11 August 2018
HeartEdge churches: Holy Trinity, Bradford on Avon
One of my new pleasures when travelling the country is visiting HeartEdge churches. Here's the first, Holy Trinity Bradford on Avon is a thriving and welcoming Grade I listed Parish Church in the inclusive and liberal modern catholic tradition, and has an active membership today of over 150. The parish of Holy Trinity is part of the Benefice of Bradford on Avon Holy Trinity, Westwood and Wingfield. The Revd Canon Joanna Abecassis is the Rector of this relatively new benefice, which was formed in 2013.
Holy Trinity are always seeking to be open to God and to grow in their personal faith and as a church community: so are on a journey! That journey began a very long time ago: the current church building has existed since 1150, but underwent a massive transformation and regeneration in 2016 (when the church was closed for a year). They called this project ‘Opening our Doors’ and so now rejoice in the fact that, not only do they have the most magnificent cathedral-like building, but their doors are open every day of the week welcoming in both members of their community and visitors from afar (like me). And the new glass doors proclaim the message, ‘Be still and know that I am God’. Read more about their reordering here.
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The Brilliance - Open Up.
Labels:
abecassis,
churches,
doors,
god,
heartedge,
holy trinity bradford on avon,
journeys,
open,
reordering
Friday, 15 January 2016
New doors at St Stephen Walbrook
This week St Stephen Walbrook has had new glass doors installed at the top of the stairs in its main entrance. These enable views from the street of our marvellous Wren interior which were not visible previously.
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David Bowie - Changes.
Sunday, 28 December 2014
ArtWay meditation: The Doors of Perception
Having made the initial introduction, I'm very pleased to see that John Espin and Tim Harrold's assemblage The Doors of Perception features as this week's ArtWay meditation.
The assemblage contains four themes which use images of water, a lion's roar, white stones, and stars.
The title is taken from William Blake's statement that 'If the doors of perception were cleansed everything would appear to man as it is, infinite':
'The title came after the completion of the piece. Doors connect each of the four scenes. Each door leads to somewhere else. Doors to be knocked on and doors to be opened. Jesus said, ‘I am the door,’ the Gateway for the sheep.'
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Dry The River - Everlasting Light.
Labels:
artway,
assemblage,
blake,
cleansing,
doors,
espin,
harrold,
infinite,
jesus,
lion,
meditation,
perceptions,
stars,
stones,
water
Friday, 25 April 2014
An Artist and the Saint: Manzù and Roncalli
Angelo Roncalli turned 'his four and a half year pontificate into one of the most important of the 20th century and earned legions of admirers as the down-to-earth "Good Pope John".'
The Guardian reports that, 'On Sunday, before a crowd of hundreds of thousands in St Peter's Square, Pope Francis is to canonise this popular Italian pontiff alongside John Paul II, recognising them both as saints.'
'Often described simply as Il Papa Buona, the friendly pontiff who went walking around Rome and endeared himself to ordinary people in much the same way as Francis today, John XXIII is regarded by his admirers as one of the most courageous and important popes in history. Roncalli, who had spent much of his career as a Vatican diplomat in countries including Bulgaria, Turkey and France, called the Second Vatican Council (Vatican II) in 1962 and died less than a year later. But the process of change he set in motion outlived him, proving key to the church's ability to retain a degree of relevance in the modern age.'
In a piece of serendipity I am currently reading An Artist and the Pope by Curtis Bill Pepper. The artist and Pope in question 'both came from Bergamo in Italy but there the affinity seemed to halt, for one was the beloved Pope John XXIII and the other was a Communist bereft of his religious faith was the famous sculptor Giacomo Manzù. Yet Pope John, discerning the man beyond the atheist, commissioned Manzù to make his portrait bust, and despite all the artist's misgivings, there developed between them a warm and deeply significant friendship which drove Manzù to achieve the remarkable bronze Doors of Death for St. Peter's in Rome - the first new doors for the cathedral for 500 years.'
The door 'has large modelled panels that depict the deaths of Mary and Christ, as well as lesser panels that show the deaths of saints and ordinary people. Vatican officials were wary of Manzù’s communist politics and criticized his refusal to temper his unflinching depiction of death and human suffering with a more spiritual theme. Particularly shocking was his depiction of a cardinal looking at a man being crucified up side-down, a reference to the execution of fascists after WWII.'
Commissioning Manzù is an example of the policy advocated in France by Marie-Alain Couturier and Pie-Raymond Régamey and in Austria by Otto Mauer of seeking to revive Christian art by appealing to the independent masters of the time. The book is a fascinating expose of the difficulties encountered, even at the very heart of the Roman Catholic Church and despite the significant support of Pope John, Don Giuseppe de Luca and Monsignor Loris Capovilla, in pursuing this policy.
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Sixpence None The Richer - Amazing Grace.
The Guardian reports that, 'On Sunday, before a crowd of hundreds of thousands in St Peter's Square, Pope Francis is to canonise this popular Italian pontiff alongside John Paul II, recognising them both as saints.'
'Often described simply as Il Papa Buona, the friendly pontiff who went walking around Rome and endeared himself to ordinary people in much the same way as Francis today, John XXIII is regarded by his admirers as one of the most courageous and important popes in history. Roncalli, who had spent much of his career as a Vatican diplomat in countries including Bulgaria, Turkey and France, called the Second Vatican Council (Vatican II) in 1962 and died less than a year later. But the process of change he set in motion outlived him, proving key to the church's ability to retain a degree of relevance in the modern age.'
In a piece of serendipity I am currently reading An Artist and the Pope by Curtis Bill Pepper. The artist and Pope in question 'both came from Bergamo in Italy but there the affinity seemed to halt, for one was the beloved Pope John XXIII and the other was a Communist bereft of his religious faith was the famous sculptor Giacomo Manzù. Yet Pope John, discerning the man beyond the atheist, commissioned Manzù to make his portrait bust, and despite all the artist's misgivings, there developed between them a warm and deeply significant friendship which drove Manzù to achieve the remarkable bronze Doors of Death for St. Peter's in Rome - the first new doors for the cathedral for 500 years.'
The door 'has large modelled panels that depict the deaths of Mary and Christ, as well as lesser panels that show the deaths of saints and ordinary people. Vatican officials were wary of Manzù’s communist politics and criticized his refusal to temper his unflinching depiction of death and human suffering with a more spiritual theme. Particularly shocking was his depiction of a cardinal looking at a man being crucified up side-down, a reference to the execution of fascists after WWII.'
Commissioning Manzù is an example of the policy advocated in France by Marie-Alain Couturier and Pie-Raymond Régamey and in Austria by Otto Mauer of seeking to revive Christian art by appealing to the independent masters of the time. The book is a fascinating expose of the difficulties encountered, even at the very heart of the Roman Catholic Church and despite the significant support of Pope John, Don Giuseppe de Luca and Monsignor Loris Capovilla, in pursuing this policy.
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Sixpence None The Richer - Amazing Grace.
Labels:
art,
articles,
artists,
books,
christian art,
couturier,
doors,
doors of death,
guardian,
manzu,
maur,
pepper,
pope,
pope francis,
pope john,
regamy,
roman catholicism,
saints,
sculpture,
st peter's
Josep Maria Subirachs RIP
The sculptor Josep Maria Subirachs, who has died aged 87, is mainly associated with his controversial sculptures for the Passion Facade of Antoni Gaudí's famous Sagrada Família cathedral in Barcelona.
The Guardian's obituary states that he "recovered the human figure in the mid-1960s and developed his mature expressionist style of rough-surfaced, sharp-angled and anguished figures, such as can be seen in the Passion Facade" of the Sagrada Familia.
"Not counting the Passion Facade, he has an extraordinary 70 sculptures in Barcelona's public spaces." I saw some of these works last year, including the Monument to Macià (1991) in Barcelona's central square, the Plaça de Catalunya: "The truncated, upside-down staircase suggests the unfinished construction of Catalonia, while the solid chunks of travertine stone express the solidity of the stateless nation's foundations. Tiny writing on the history of Catalonia and on the life of Francesc Macià, the region's first modern president, covers the blocks of stone."
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Barcelona - Please Don't Go.
Labels:
art,
artists,
barcelona,
doors,
gaudi,
guardian,
obituary,
sagrada familia,
sculpture,
staircase,
subirachs,
the passion
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