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Showing posts with label lovell. Show all posts
Showing posts with label lovell. Show all posts

Sunday, 21 May 2023

The Overview Effect and One Beautiful World

 


Here's the reflection I shared at today's music event in Spring of Hope Church for the One Beautiful World Arts Festival:

The main publicity image for the One Beautiful World Arts Festival is a painting of the world as seen from space by Jackie Burns, whose inspirational exhibition of space art is currently at St Andrew’s Wickford.

The first time that astronauts were able to photograph the whole Earth from space came with the first manned mission to the moon on Apollo 8. On December 24, 1968, astronauts Commander Frank Borman, Command Module Pilot Jim Lovell, and Lunar Module Pilot William Anders entered lunar orbit. William Anders captured an iconic picture of the Earth that day which came to be known as Earthrise. Anders said, “We came all this way to explore the Moon, and the most important thing is that we discovered the Earth.”

What Anders experienced is called The Overview Effect; a shift in awareness by astronauts seeing Earth from outer space as a “tiny, fragile ball of life.” The term was coined by author Frank White in 1987 in his book, The Overview Effect — Space Exploration and Human Evolution.

Apollo 8 astronaut Jim Lovell said: “The vast loneliness up here of the Moon is awe inspiring, and it makes you realize just what you have back there on Earth. The Earth from here is a grand oasis to the big vastness of space.”

Apollo 11 astronaut Michael Collins said: “The thing that really surprised me was that it [Earth] projected an air of fragility. And why, I don’t know. I don’t know to this day. I had a feeling it’s tiny, it’s shiny, it’s beautiful, it’s home, and it’s fragile.”

Apollo 11 astronaut Neil Armstrong said: “It suddenly struck me that that tiny pea, pretty and blue, was the Earth. I put up my thumb and shut one eye, and my thumb blotted out the planet Earth. I didn’t feel like a giant. I felt very, very small.”

Apollo 11 astronaut Buzz Aldrin said: “From the distance of the moon, Earth was four times the size of a full moon seen from Earth. It was a brilliant jewel in the black velvet sky.”

Songwriter Julie Gold wrote a song called ‘From a distance’:

“From a distance, the world looks blue and green
And the snow-capped mountains white
From a distance, the ocean meets the stream
And the eagle takes to flight
From a distance, there is harmony
And it echoes through the land
It's the voice of hope
It's the voice of peace
It's the voice of every man”

The Overview Effect has inspired hope as it ‘has been turning astronauts into environmental advocates ever since the first person in space, Yuri Gagarin, marvelled at the planet from orbit in 1961. “People of the world, let us safeguard and enhance this beauty — not destroy it,” the Soviet cosmonaut said upon his return. A half-century later, ex-NASA astronaut José Hernández said that the view aboard the Space Shuttle Discovery in 2009 turned him into “an instant treehugger.” As a result, in recent years, astronauts, including the former NASA astronaut Mae Jemison and French astronaut Thomas Pesquet, have spoken at international climate negotiations, bringing their big-picture perspective with them.

Paintings like those of Jacqui Burns or photos like Earthrise can give us a sense of the Overview Effect and grow in us a greater concern for the one beautiful world we inhabit. For those of us who are religious, our concern for the planet should be heightened by our understanding that it was wonderfully created by God and that human beings have been given the task of caring for it by our Creator. As Julie Gold puts it in her song God is watching us from a distance and, therefore, watching how we care for the world he has made. 

But regardless of whether God’s creation of the world features on our radar or not, the Overview Effect – that sense of the beauty and fragility of our wonderful world – should compel us, as has been the case for so many astronauts, to want to address the climate emergency and save our one beautiful world from the jeopardy into which our human exploitation of resources has placed it.





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Ayo-Ayo: Kabiyesi.

Saturday, 10 April 2021

Artlyst - Modus Operandi What Makes Successful Public Art: Vivien Lovell Interviewed

My latest interview for Artlyst is with Vivien Lovell of Modus Operandi, an independent arts unit with a track record of curating and producing high-quality art in the public realm, that recently celebrated its 21st birthday. To mark this milestone, the company selected 21 projects at random, spanning the years since Vivien Lovell soft-launched the company.

"A complex project – and there are many to choose from the East Window of St Martin-in-the-Fields by Shirazeh Houshiary with Pip Horne. Replacing the post-WW2 window with a contemporary glass artwork within a Grade 1 listed building meant that permissions were multilayered: no less than seven steps were involved. It was unprecedented being the artist’s first work in glass and on such a scale. This called for collaborators, including the artist’s partner architect Pip Horne; the church’s architect Eric Parry; the glass studio, Mayer of Munich; the fabricators of the steel framework, Benson Sedgwick and the lighting designer Jonathan Coles. The final work has become synonymous with the church’s renewed identity and is recognised as a landmark in public art."

My other pieces for Artlyst are:

Interviews -
Articles -
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James MacMillan - A New Song.

Sunday, 13 November 2016

Patronal Festival & Hidden St Martin's














This evening at St Martin-in-the-Fields we celebrated our Patronal Festival, The Art of Being Church, and marked the 1700th anniversary of the birth of St Martin of Tours, 800 years of there being a church of St Martin’s on our site, and the climax of our 15-year programme of art commissions.

Vivien Lovell spoke about The Art of St Martin-in-the-Fields, Katherine Hedderly led the service and Sam Wells preached. Music was led by the Choir, Occasional Singers and Children's Voices of St Martin-in-the-Fields and included Apolytikion of St Martin by John Tavener. The prayers were led by our artists and craftspeople's group, who also organised the Hidden St Martin's exhibition which began today in the Foyer of the Crypt. A new booklet entitled 'The Art of St Martins' has been published (available from our shop) with contributions from Neil McGregor, Sam Wells, Vivien Lovell and Sir Nicholas Goodison. The booklet tells the story of our Arts programme and reflects on the commissioned artworks themselves.

The service included the dedication of the metalwork commissions of the last four years - Candleholders and a Paschal Candlestand by Brian Catling for the sanctuary and Candleholders, Chalice and Paten by Giampaolo Babetto for the Dick Sheppard Chapel. Richard Carter spoke about the Babetto pieces and I spoke about the Catling Candleholders and Paschal Candlestand saying:

Brian Catling has described himself as being ‘obsessively engaged in the collision of separate activities that sometimes fuse together in a hybrid event.’ His artistic practice, which is a form of metamorphosis, begins by putting things next to each other so that they become something different.

With his candleholders and paschal candlestand, he has worked a similar transformation as with his earlier Processional Cross, which they reference. That is to take ordinary materials – wood in the case of the cross and cloth in the case of the candleholders and paschal candlestand – and through the processes of shaping, casting and gilding to give them new meaning.

There is a direct resonance with the candleholders and paschal candlestand to the way the cross was made, as the three works share the same gestures of process while remaining individual objects in themselves. The use of Moon Gold as gilding also provides a likeness to other elements of decoration in the church, as it is the same bright lustre that covers other architectural details in the chancel.

As well as the process of their creation, the three pieces are linked by the use of cloth. In the processional cross, the third piece of wood hanging from the centre provides an allusion to St Martin tearing his cloak in two and giving half to a beggar, while cloth, saturated in a resin based plaster, has been shaped and modelled then cast in aluminium and gilded to form the candleholders and paschal candlestand.

In the story of St Martin, the overlooked beggar was seen to be Christ. In the Eucharist, the basic staples of bread and wine are re-membered as the body and blood of Christ. By casting and gilding wood and cloth, Brian Catling retains the simplicity and poverty of his sources – wood and cloth, St Martin and Christ - whilst also revealing the glory which comes through redemption in Christ’s final overcoming of suffering and death.

Brian Catling has spoken of how it is essential that he has both a hands-on and mindful relationship with the sculptural identity of his works. ‘Design is not enough,’ he has said, ‘I need the struggle and tension that only ever comes through deep feeling, prolonged thought, and the work of the hands.’ This, too, accords with our belief in the paradigm of crucifixion and resurrection that leads to a place where we understand that transformation and glory are only ever achieved as we journey through suffering and struggle.

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John Tavener - Apolytikion for St Nicholas.

Wednesday, 23 July 2014

Sabbatical art pilgrimage: St Martin-in-the-Fields








The Revd. Dr. Sam Wells, Vicar of St Martin-in-the-Fields, spoke about ‘Art and the renewal of St Martins’ at the beginning of July as part of the International Conference organised by Art & Christianity Enquiry (ACE).

After initial remarks on the theme of art as a plurality of possibility showing what could be by using form, media and idea for creation, appreciation and interpretation, he took John Calvin’s threefold office of Christ as a frame for speaking about art, St Martins and Art at St Martins.

Art:

·        Prophet – Art holds up a mirror to society and asks, ‘Are you proud of what you see?’ Art can create a dream of society fulfilled and thereby the painful gap between the ideal and reality. Prophets often shock and some prophetic acts are shocking.
·        Priest – We can “heaven espie” through art (e.g. icons). Art enables us to see beyond the stars. It can, therefore, be a sacrament.  Through the arts the ordinary stuff of life speaks or sings of the divine. Artists are the high priests of creation.
·        King – Art shows what humanity can be when we reach our full potential.  Kingly art stretches us and is about glory, as with the roadsweeper Wells encountered who spoke of his love of opera as being “his glory.” Artists construct acts of worship. God is the great artist and each human life is an interpretation and improvisation on the creativity of God.

St Martins:

·        Prophetic – Advocacy on social issues.
·        Kingly – St Martins is a premier parish church which affirms national culture and identity.
·        Priestly – The priestly role is central to St Martins.

Art at St Martins:

·        Prophetic – Homage to Soweto by Chaim Stephenson is a memorial to those who suffered during the Apartheid regime in South Africa. Hector Pieterson was a 13-year-old killed in the Soweto uprising in 1976. In the sculpture he is being carried in the arms of a fellow student. The sculpture is a tribute, lament and prayer for victims of injustice and violence. Mike Chapman’s Millennium sculpture on the portico depicts the scandal of particularity found in the incarnation.
·        Priestly – Brian Catling’s Processional Cross has been cast in a strong yet lightweight aluminium and is gilded in white gold. In Jesus, God came face-to-face with humanity and vice versa. Jesus is, therefore, the crossroads. Wood went adrift when it was used as a cross. Here drift wood has been attached to the cross; two pieces of wood have been tied humbly together by a length of string – an allusion to St Martin tearing his cloak in two and giving half to a beggar.
·        Kingly – James Gibbs’ building signified a new era of church building. Shirazeh Houshiary’s East Window has no direct representation of conventional imagery. The oval is a prophetic image of interruption. It can also be seen as an egg about to burst (a Kingly image). The window governs all it surveys. This cross is a vortex of renewal, a whirlpool of holiness. 

St Martin’s has an Arts Advisory Panel for the Art Programme that began under the church’s Renewal Project. The panel is chaired by Sir Nicholas Goodison and also includes Vivien Lovell, Director of Modus Operandi. Other members of the advisory panel include Revd Dr Sam Wells, vicar of St Martin’s; Rod Beadles and Ali Lyon, Churchwardens; Eric Parry, architect of the Renewal Project; art historians Wendy Baron and MaryYule; and Alister Warman, curator.
As part of the renewal of St Martin-in-the-Fields by Eric Parry Architects, Modus Operandi was appointed to create an Art Startegy for the Grade I listed church.  As a result of a competitive interview process, overseen by the Art Selection Panel, five major new artworks were commissioned: Tomoaki Suzuki’s Christmas Crib, Shirazeh Houshiary’s East Window, a poem by Andrew Motion which was realised by letterer Tom Perkins and set into the balustrade of the Light Well, a new Altar by Shirazeh Houshiary and the new Processional Cross by Brian Catling.

The building won a RIBA London Award in 2009, an ACE/RIBA Award for Religious Architecture, A Civic trust Award and the Europa Nostra EU Prize for Cultural Heritage.  It also received a British Construction Industry Award and was highly commended in the Regeneration and Renewal Awards.


In addition to the commissions through the Art Programme, the visual arts also feature in the renewed building in the Crypt Gallery. The Gallery in the Crypt’s dramatic 18th Century architecture makes a stunning backdrop to display modern art and photography.
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Academy of St. Martin in the Fields Chamber Ensemble.