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Showing posts with label emin. Show all posts
Showing posts with label emin. Show all posts

Sunday, 22 March 2026

Bring me to life

Here's the sermon that I shared at St Peter's Nevendon this afternoon:

Imagine a bed surrounded by the debris of a week’s illness, soiled sheets and slashed pillows, pills and vodka bottles, used condoms and tissues. This is ‘My Bed’ an installation by Tracy Emin was first exhibited in 1999. You’ll probably remember reading about it in the press at the time as it prompted the usual “call that art, my two-year old could have done better” kind of articles. A bed is a powerful symbol of birth and death, sex and intimacy but this controversial installation was perhaps an image of our culture’s sickness and dis-ease surrounded by the remnants of those things through which we seek a cure; sex, alcohol, drugs, tears, aggression. And the bed, like many lives, was empty. The morning after the cure that never came.

Sometimes our lives feel like that installation. Our relationships may have broken down, we may have been abused, we may be anxious, stressed or worried, our work might be under threat or have ended. For all these reasons and many others we can feel as though our lives have closed down becoming barren or dry or dead. Our communities and culture can feel like that too. Many years ago now, at the end of the 1970’s, The Sex Pistols sang about there being no future in England’s dreaming. And many people still think that our society is changing for the worse. When I had a holiday in Spain a few years ago I stayed on a street that was mainly occupied by British people who had left because they didn’t like the changes that they saw in British society. Such people think of Britain as being diseased and dead with no future for them. Being in the Church it is also easy to feel the same. We are regularly told in the press that the Church is in decline and the Church of England continues to deal with major conflicts that threaten to pull it apart. Again, it is easy to feel as though the Church is washed up, dried out and dying.

Whatever we think of those issues and views, the God that we worship is in the resurrection business. And that is where we need to be too. In our Gospel reading (John 11: 1-45) Jesus said that he is the resurrection and the life and demonstrated this by bringing Lazarus back to life. Through his ministry, Jesus resurrected a society and culture transforming the entire world as he did so. He calls us to follow in his footsteps by looking for the places where our society and culture is dried up or dying and working for its transformation and resurrection. Each of us can do the same as Jesus through our work and community involvements and we need to be asking ourselves how God wants to use us, through those involvements, to transform parts of our society and culture.

Raising Lazarus from death was a sign of what would happen after Jesus’ own death on the cross. By rising from death himself, Jesus conquered death for all people enabling us to enter in to eternal life after our physical death. This is good news for us to share with other people around us wherever we are - in our families and among our friends, neighbours and work colleagues.

Jesus also resurrected lives before physical death came. Look for a moment at John 11 with me. In the first section of that chapter from verses 1 to 16 we see the disciples struggling to understand what Jesus was saying and doing. He wanted them to see how God was at work in Lazarus’ illness and death. They kept looking only at their physical and material circumstances - if Jesus went back to Judea then he would be killed, if Lazarus was asleep then he would get better, and so on. Jesus wanted them to see that God can work even through death and in verse 16 he drew out of them the commitment to go with him even though they might die with him.

Then in verses 17 to 27, Jesus helped Martha move beyond her theoretical belief in the resurrection to a belief that Jesus himself is the promised Messiah. Finally, in verses 38 to 45, he helped all those present to move beyond their focus on physical realities to believe in God’s ability to do the supernatural. Throughout, Jesus was challenging all the people he encountered to move beyond their comfort zones, to step out in faith, to encounter and trust God in new ways. He wants to do the same with each one of us. Wherever our lives have got stuck, have become dried up or closed down or have died he wants to challenge and encourage us to move out of our comfort zones and to encounter him and other people in new and risky ways. He wants us to come alive to God, to the world, to other people and to life itself in new ways.

Jesus is in the resurrection business. Whether it is transforming society, sharing the good news of eternal life or encouraging us to step out in faith, Jesus wants to bring us to life. How will you respond to Jesus this afternoon? Is there an area of your life that he can bring back to life? Will you commit yourself to join in sharing the good news of eternal life with others and transforming society where you are?

As you think about that challenge let us pray together briefly, using the words of a song by Evanescence: Lord Jesus, we are frozen inside without your touch, without your love. You are the life among the dead, so wake us up inside. Call our names and save us from the dark. Bid our blood to run before we come undone, save us from the nothing we’ve become. Bring us to life. Amen.

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Evanescence - Bring Me To Life.

Sunday, 3 November 2024

Bring us to life - transforming society

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

Imagine a bed surrounded by the debris of a week’s illness, soiled sheets and slashed pillows, pills and vodka bottles, used condoms and tissues. This is ‘My Bed’ an installation by Tracy Emin was first exhibited in 1999. You’ll probably remember reading about it in the press at the time as it prompted the usual “call that art, my two-year old could have done better” kind of articles. A bed is a powerful symbol of birth and death, sex and intimacy but this controversial installation was perhaps an image of our culture’s sickness and dis-ease surrounded by the remnants of those things through which we seek a cure; sex, alcohol, drugs, tears, aggression. And the bed, like many lives, was empty. The morning after the cure that never came.

Sometimes our lives feel like that installation. Our relationships may have broken down, we may have been abused, we may be anxious, stressed or worried, our work might be under threat or have ended. For all these reasons and many others we can feel as though our lives have closed down becoming barren or dry or dead. Our communities and culture can feel like that too. Many years ago now, at the end of the 1970’s, The Sex Pistols sang about there being no future in England’s dreaming. And many people still think that our society is changing for the worse. When I had a holiday in Spain a few years ago I stayed on a street that was mainly occupied by British people who had left because they didn’t like the changes that they saw in British society. Such people think of Britain as being diseased and dead with no future for them. Being in the Church it is also easy to feel the same. We are regularly told in the press that the Church is in decline and the Church of England continues to deal with major conflicts that threaten to pull it apart. Again, it is easy to feel as though the Church is washed up, dried out and dying.

Whatever we think of those issues and views, the God that we worship is in the resurrection business. And that is where we need to be too. In our Gospel reading (John 11: 1-45) Jesus said that he is the resurrection and the life and demonstrated this by bringing Lazarus back to life. Through his ministry, Jesus resurrected a society and culture transforming the entire world as he did so. He calls us to follow in his footsteps by looking for the places where our society and culture is dried up or dying and working for its transformation and resurrection. Each of us can do the same as Jesus through our work and community involvements and we need to be asking ourselves how God wants to use us, through those involvements, to transform parts of our society and culture.

Raising Lazarus from death was a sign of what would happen after Jesus’ own death on the cross. By rising from death himself, Jesus conquered death for all people enabling us to enter in to eternal life after our physical death. This is good news for us to share with other people around us wherever we are - in our families and among our friends, neighbours and work colleagues.

Jesus also resurrected lives before physical death came. Look for a moment at John 11 with me. In the first section of that chapter from verses 1 to 16 we see the disciples struggling to understand what Jesus was saying and doing. He wanted them to see how God was at work in Lazarus’ illness and death. They kept looking only at their physical and material circumstances - if Jesus went back to Judea then he would be killed, if Lazarus was asleep then he would get better, and so on. Jesus wanted them to see that God can work even through death and in verse 16 he drew out of them the commitment to go with him even though they might die with him.

Then in verses 17 to 27, Jesus helped Martha move beyond her theoretical belief in the resurrection to a belief that Jesus himself is the promised Messiah. Finally, in verses 38 to 45, he helped all those present to move beyond their focus on physical realities to believe in God’s ability to do the supernatural. Throughout, Jesus was challenging all the people he encountered to move beyond their comfort zones, to step out in faith, to encounter and trust God in new ways. He wants to do the same with each one of us. Wherever our lives have got stuck, have become dried up or closed down or have died he wants to challenge and encourage us to move out of our comfort zones and to encounter him and other people in new and risky ways. He wants us to come alive to God, to the world, to other people and to life itself in new ways.

Jesus is in the resurrection business. Whether it is transforming society, sharing the good news of eternal life or encouraging us to step out in faith, Jesus wants to bring us to life. How will you respond to Jesus this afternoon? Is there an area of your life that he can bring back to life? Will you commit yourself to join in sharing the good news of eternal life with others and transforming society where you are? 

As you think about that challenge let us pray together briefly, using the words of a song by Evanescence: Lord Jesus, we are frozen inside without your touch, without your love. You are the life among the dead, so wake us up inside. Call our names and save us from the dark. Bid our blood to run before we come undone, save us from the nothing we’ve become. Bring us to life. Amen.

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Evanescence - Bring Me To Life.

Wednesday, 2 October 2024

Artlyst: October Art Diary

My October Art Diary for Artlyst highlights artist monographs, which increasingly appearing on the market as we approach Christmas. So I begin the October Art Diary with several, which are also linked to launch exhibitions. I also feature several exhibitions in sacred spaces before ending with some interesting thematic shows. Among the works featured you will find Leonora Carrington, Ken Currie, Tracey Emin, Susie Hamilton, Ana Maria Pacheco, Michael Petry, and Lancelot Ribeiro, among others:

'Another fascinating monograph to be published shortly is ‘Nolan’s Africa’ by Andrew Turley. In this monograph, Turley takes readers on a journey with Sidney Nolan from the United Nations Headquarters in New York to a suspected assassination on the Congo border, from the crematoria of Auschwitz to the formation of the World Wildlife Fund and on to the plains of the Serengeti. He walks in Nolan’s footsteps across Tanzania, Uganda and Ethiopia, seeing the world through the artist’s eyes. Written over twelve years and across three continents, this is the first book based on the newly opened Sidney Nolan Archives at the National Library of Australia, containing never-before-seen diaries, photographs and personal notes.

The result is a rich narrative that weaves together art, adventure, philosophy, global politics and world history. Artistic influences and processes, breathtaking in their scope, are laid bare as the thoughtful balance of text and images urges readers to consider the effect that the Holocaust, animal extinctions, colonial disenfranchisement and human conflict had on the artist and society. ‘Nolan’s Africa’ is a compelling picture of one of the most complex and famous painters of the twentieth century, shining new light on his examination of nature, human nature and the nature of modern civilisation.'

For more of my writing on artists included in my October Art Diary see here: Susie Hamilton; Ken Currie; Marcus Lyon; Micah Purnell; Michael Petry; Sidney Nolan; Brian Whelan; Ana Maria Pacheco; and Michael Takeo Magruder.

Interviews -
Monthly diary articles -

Articles/Reviews -

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Ed Kowalczyk - Angels On A Razor.

Sunday, 11 August 2024

Liverpool Cathedral






























I visited Liverpool Cathedral today to see Monadic Singularity by Anish Kapoor. Liverpool Cathedral is the largest cathedral in Britain and the 5th largest Cathedral in the world. It is filled with amazing artwork including statues, paintings and sculptures. It also hosts many installations such as Monadic Singularity.

Churches and Cathedrals have provided inspiration to some of the Western world’s greatest music and visual art. At times of widespread illiteracy, visual art in churches was a powerful means of both communication and control. At Liverpool Cathedral there is art for everyone to enjoy, whether that be a traditional painting, a classic stained glass window or the instagramable neon sign under the West Window. In keeping with the vastness of the building, Liverpool Cathedral has good examples of larger works by five Royal Academicians: Craigie Aitchison; Tracey Emin; Elisabeth Frink; Christopher Le Brun; and Adrian Wiszniewski, alongside works by a number of other contemporary artists.

While making your way around the Cathedral you will encounter:
  • The Welcoming Christ Sculpture by Elizabeth Frink: This is the first piece of art you will see when coming into the Cathedral. On Easter Day 1993, Elizabeth Frink’s The Welcoming Christ was unveiled at Liverpool Cathedral. The artist died a few days later, but the sculpture was enough to establish her as one of the foremost religious sculptors of the century.
  • ‘For You’ Light Installation by Tracey Emin: Located at the West Window, the purpose of this neon art installation is to encourage the viewer to think about love and the need to share love. It is specifically placed over the main doors of the Cathedral for people to spend time in contemplation as they enter or before they leave the building.The work was commissioned by the Chapter of Liverpool Cathedral as a principal contribution to Liverpool’s year as European Capital of Culture 2008.
  • Painting of Crucifixion by Gary Bunt: Bert, his dog, our God – An artist’s impression of the New Testament. Gary paints in ‘the shed’ (his studio) which is nestled in his garden which he has designed and landscaped so the village church spire can be seen from his easel. 
  • Icon of the Trinity Painting by Cristi Paslaru: As you enter The Baptistry you will notice this piece. This icon is a copy, by the contemporary Romanian iconographer Cristi Paslaru, of the original 15th century piece deemed to be by the Russian painter Andrei Rublev, whose original work hangs in the Tretyakov Gallery in Moscow.
  • The Outraged Christ by Charles Lutyens: Entering the Derby Transept you will see the ‘Outraged Christ’ sculpture. It is a 15ft high depiction in wood, iron, and steel of the Crucifixion of Jesus Christ, the Son of God. Made of hard and soft wood, drilled, dowelled and bound together with powerful construction adhesive, it was shaped primarily with a large chisel and chainsaw by Charles Lutyens. Charles decided to become an artist while at Bryanston School in Dorset. He studied oil painting and sculpture at the Chelsea, Slade, St Martin’s and Central Schools of Art in London, and later in 1957 with Andre Lhote in Paris. This sculpture was started some 40 years ago, while sitting outside College – Over a period of days he sculpted the head of Christ. You can find out more about Charles Lutyens here.
  • LJMU Cross sculpture by J. R. M. Robertson: This Cross was presented to Liverpool Cathedral by Liverpool Polytechnic on the Tenth Anniversary of the Polytechnic in 1980. The sculpture was designed and constructed by J. R. M. Robertson of the Fine Art Department. 
  • The Good Samaritan by Adrian Wisznieski: Located in the South Choir Aisle, The Good Samaritan was Commissioned in 1995 and given to the Cathedral in March 1996. Funded by the Jerusalem Trust, £94000 for 2 paintings and £11750 framing. 
  • Kneeling Madonna by Giovanni De La Robbia: Donated by Francis Neilson a 15th century statue in wood of the Kneeling Madonna by Giovanni Della Robbia is complemented by a figure of the Baby Christ Child in The Lady Chapel. 
  • The Baby Christ Child by Don MacKinlay: In 2002, the Cathedral Chapter commissioned the Rossendale artist, Don McKinlay, to create a Christ-child to be set alongside the Madonna. The commission was given in memory of Dean Derrick Walters who died in 2000.
  • Josephine Butler Windows: The Josephine Butler Trust commissioned the work to restore the Noble Women windows within the Lady Chapel. The nineteenth century social reformer and campaigner for women’s rights is one of the 12 women featured in the windows. The trust works to keep her vision alive and annually celebrates current social reformers.
  • At the End…A Beginning by Richard Harrison: The artist Richard Harrison, whose triptych ‘Crucifixion: At the End… A Beginning’ hangs in the Cathedral Ambulatory, it was accepted to exhibit at the John Moores 2010 Exhibition at the Walker Art Gallery. 
  • Risen Christ Maquette by Elizabeth Frink: This Marquette is located in the Ambulatory… Dame Elisabeth Frink was an English sculptor and printmaker born in Suffolk November 1930. She studied at the Guilford School of Art and at the Chelsea School of Art. She became a part of a post-war group of British sculptors. 
  • Calvary by John Ronald Craigie Aitchison CBE RSA RA: This painting is located in The Chapter House- it was Commissioned by the Dean and Chapter of Liverpool Cathedral and was dedicated on 8th July 1998 at Evensong. The artist has a deep feeling for the crucifixion. He captures the desolation, the horror, and the pain; but at the same time, he manages in his frugal style, to signal the crucifixion as the gateway to hope and resurrection. 
  • The Holy Family by Josefina Vasconcellos: Josefina de Vasconcellos was an internationally renowned sculptor who was born in Molesey in Surrey in 1904. Vasconcellos was awarded the Order of the British Empire in 1985 for her community work for disadvantaged and disabled children. This sculpture is located in The Children’s Chapel. 
  • Painting of Liverpool Cathedral by Hannah Thompson: This beautiful painting of the Cathedral and its surroundings is located in The Children’s Chapel. 
  • Our Lady of Walsingham by Unknown: This impressive sculpture is located in the North Choir Aisle. 
  • House Built Upon Rock by Adrian Wiszniewski: Located in the North Choir Aisle, this painting was Commissioned in 1995 and given to the Cathedral in March 1996. Funded by the Jerusalem Trust, £94000 for 2 paintings and £11750 framing. An allegory of The House Built Upon Rock will show a family at the seaside with a serpentine sand snake, sandcastles, buckets and spades. The painting is using the parable as a premonition of Christ’s crucifixion. 
  • Cross Icon painting by Ludmila Pawlowska: She is a Kazakh Post-war and contemporary artist who was born in 1964. Numerous Art Galleries and museums have featured Ludmila’s work. This piece is located in The Chapel of The Holy Spirit. 
  • The Redemption by Arthur Dooley and Anne McTavish: On the 12th March 1997, The Fabric advisory committee approved the application to display a sculpture and tapestry “The Redemption” by Sculptor Arthur Dooley and Embroiderer Ann McTavish in the chapel of the Holy Spirit.
  • Christi Paslaru pieces in Chapel of The Holy Spirit: Large Icons Painting – The Icons were painted on boards that have been cut to size and sculpted in a Monastery. They are made of lime wood with oak struts on the back which prevent warping. The wood is prepared in the traditional manner with a canvas and several layers of gesso (plaster). The style of painting is known as Tempera on Wood.
  • Memorial Bust Noel Chavasse by Terry Mc Donald: Located in The Memorial Chapel this sculpture is made by Terry Mcdonald. His apprenticeship began when he was still a teenager at the Bluecoat Studios, he was there for 10 years. In Liverpool Cathedral he worked on some of the intricate finials of the huge columns after they were damaged in a storm. 
  • The Prodigal Son by Christopher Le Brun: Located on the left side of the Presbytery, this painting was made in 1996. The phrase from the parable of the Prodigal Son (Luke 15:11-32) which inspired the artist was ‘He saw him while he was still far off…’. The road winds towards us from the distant land through which the son had travelled. As he approaches, head down, arms at his side, he is greeted by the dog that jumps up in recognition. 
  • The Good Samaritan by Christopher Le Brun: Also located in the Presbytery the painting was funded by the Jerusalem Trust £152750 for the 2 paintings The Prodigal Son and The Good Samaritan, £17625 for framing. In 2009 Le Brun was commissioned by the Royal Mint to design a new fifty pence piece commemorating the 250th anniversary of the founding of the Royal Botanic Gardens at Kew in London.
  • ‘Praise’ by Peter Vaillant: The painting is located at the shop stairs. Peter Vaillant is a recognised and acclaimed British abstract artist, obtaining notoriety, through international exhibitions. Reviewed as having an intrepid, powerful, and vibrant modernism, distinguishable to his peers.
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Sunday, 9 February 2020

Artlyst - National Gallery Explores Sin In New Exhibition

My latest interview for Artlyst is with Dr Joost Joustra, The Howard and Roberta Ahmanson Fellow in Art and Religion at the National Gallery, who has curated the first exhibition in the UK exploring sin in art. 'Sin' will bring together paintings from the National Gallery’s collection dating from the 16th to the 18th century with loans from important private and public collections including modern and contemporary works by Andy Warhol, Tracey Emin, and Ron Mueck:

"Brueghel’s ‘Christ and the Woman taken in Adultery’ is a key image ... Christ says, ‘He that is without sin among you, let him first cast a stone.’ People who are pointing fingers and accusing one another stop and start thinking about where they are in the story and where they stand. This is an evocative story and image which still makes people stop and think."

My other Artlyst pieces are:

Interviews:
Articles:

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Violent Femmes - Just Like My Father.

Tuesday, 9 January 2018

London Lumiere 2018 and churches


London Lumiere 2018 launches on the evening of Thursday 18 January and runs over four nights through to Sunday 21 January.

Lumiere first came to central London in January 2016 and wowed visitors with light installations placed across the city centre. This year the show is even bigger with installations on the Southbank and at Waterloo, Westminster, Mayfair, The West End and Kings Cross. Visitor numbers are expected to reach over 2m. The works are illuminated from 17.30 – 22.30 each night.

St Martin-in-the-Fields will be hosting Echelle, by Ron Haselden – a neon pink illuminated ladder that will be attached to the spire. Dreamlike, it will disappear into the ether above like a glowing stairway to heaven. Haselden (France/UK) is an international artist working with light, electronics, sound, film and other materials. He lives and works in London and in Plouër-sur-Rance, France. The work was originally commissioned for the Salisbury Festival in 2000. The Café in the Courtyard will open from 17.00 – 21.00 Thurs – Sat and from 16.00 – 19.00 on Sunday and will be serving homemade soup, paninis, hot drinks, snacks and licensed refreshments. 

Experience a soothing meditation connecting colour, sound, light and texture through UK artist Chris Plant’s Harmonic Portal. In this new work at St James Piccadilly, Plant seeks to piece together our fragmented world. The soundtrack is derived from the frequencies of red, green, and blue light, creating a synesthetic colour organ that explores and magnifies both the inside and the outside of the frame. https://www.instagram.com/harmonicportal/.

See Tracy Emin’s neon work Be Faithful to Your Dreams, in St James’s Churchyard during Lumiere London 2018. London-born Emin is one of Britain’s most celebrated contemporary artists. Since the early 1990s, she has used her own life as inspiration for her art, exposing the most harrowing and intimate details of her personal history through needlework, sculpture, drawing, photography, painting, and of course neon.

Emin (UK) uses neon to illuminate emotions, memories, feelings and ideas in graphic messages, sentences and poems. Translating handwriting and drawings into blown and bent neon tubing presents technical challenges, and the choice of words or images is crucial. As the artists notes: “Neon is light, so, can you live with this thing glowing and the chemicals moving all the time?”

Experience moving tales through My Light is Your Light, a tribute from artist Alaa Minawi (Palestine/Lebanon) to Syrian refugees, in St James’s Churchyard (viewed from Church Place).

This installation pays tribute to Syrian refugees and the terrible conditions they have experienced in their migrations across the world. The work was realised after Alaa Minawi worked for three years as an interpreter for Syrian, Iraqi, Sudanese and Somali refugees. Also see Suspended, an installation artwork by Arabella Dorman inside St James's Church Piccadilly.

He interpreted the final interviews that took place between the refugees and a DHS (Department of Homeland and Security) officer within which they received their final resettlement decisions. In these interviews, the refugees tell their traumatic stories, what they have been through and the reasons behind their displacement. Minawi interpreted interviews for more than 1,000 families and felt the need to express what he had heard. These stories are now embodied in art, the fragile outlines of a family glowing in the darkness.

Minawi says: “I would like people to know that these are not refugees. As an artist, it is important to highlight the fact that we need to view them as people who were forced to leave their homes. That is a much more powerful approach…. We have to go to the real meaning of the word 'refugee' without the fears that are currently stigmatising it.”

See French digital artist Patrice Warrener’s magnificent The Light of the Spirit (Chapter 2), at Westminster Abbey. Warrerner created one of the most popular installations during Lumiere London 2016; and for the second instalment, in 2018, he brings the facade of the abbey’s Great West Gate to life by incorporating sculptural details in his distinctive colourful style.

Bathing Westminster Abbey in colour and light, the projection highlights the architectural mastery of the building, enabling us to witness the glorious statuettes of 20th-century martyrs reimagined. Usually perched unobtrusively on the facade above the Great West Doors, the figures are once again transformed into kaleidoscopic illuminations, a tribute to their lives in technicolour.

Warrener is recognised worldwide for his chromolithe projection system. His polychromatic illuminations on buildings give the impression of a spectacularly bright painted surface. He has designed more than 80 astounding creations and continues to share this unique art form across the globe.

Discover how simple technology is changing thousands of lives across the world with The Rose at Westminster Cathedral. Lumiere London celebrates light in all its forms but for many people access to light is a luxury, and Mick Stephenson's installation with Electric Pedals (UK) highlights how communities can be transformed by light.

A rose window with a difference, this work is made from thousands of recycled plastic bottles transformed into beautiful illuminated art. In another twist, The Rose is powered by bicycles pedalled by members of the public. Join in and work off those Christmas calories!

Artist Stephenson explores issues relating to poverty, sustainability and climate change in his works. Filled with bottles designed during workshops with local school children, The Rose asks us to acknowledge the growing need for alternative technologies to support our everyday lives.

Stephenson’s Litre of Light installation for Lumiere London 2016 attracted thousands to Central Saint Martins. He also created installations for Lumiere Durham in 2015, 2013 and 2011.

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Larry Norman - Shine A Light.