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Showing posts with label m. dean. Show all posts
Showing posts with label m. dean. Show all posts

Sunday, 26 April 2026

The in's and out's of Church

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

For Easter 2017 the church I was at in the City of London, St Stephen Walbrook, we were involved in a two-part art work based on the Stations of the Cross and the Stations of the Resurrection. The first part of this project involved the artist Mark Dean in projecting filmed Stations of the Cross onto the central, circular Henry Moore altar at St Stephen Walbrook throughout the night on Easter Eve.

Mark Dean’s videos were not literal depictions of the Stations of the Cross, instead he appropriated a few frames of iconic film footage together with extracts of popular music and then slowed down, reversed, looped or otherwise altered these so that the images he selected were amplified through their repetition. In this way he brought images from outside church into church and made them central to the Easter Vigil by projecting them onto an altar which had been designed for people to gather as a community around the place where God can be found; the Eucharist, the central act of Christian worship, the re-enactment of Christ’s sacrifice.

In St Paul’s Cathedral for the second part of the project, the staging was inverted as the dancers performed in the central space under the dome, whilst Dean’s video was played on television monitors placed around the edge of this circular space. Five dancers emerged from the shadows around the edge of the stage and started to navigate the space, sometimes individually and sometimes in groups, to form tableaux which were visually reminiscent of the acts of protecting, comforting and carrying each other. The dancers regularly perforated the boundary, moving out beyond the stage and the audience, before returning to the centre and reconnecting in different configurations. As a result, the on-lookers found themselves within the action of these movements.

Among the themes that these projections and performances explored therefore were notions of being in and out with the crucifixion as an internal interior focus and the resurrection leading to an outward focus. Similar notions of in and out also inform Jesus’ teaching about the shepherd and the sheep (John 10. 1 - 10), which have traditionally been interpreted as being about the in’s and out’s of salvation meaning that the sheepfold has been seen as representing heaven. Being locked in to a sheepfold overnight seems a strange way of picturing heaven and so I want to explore the imagery of the sheepfold instead in terms of understandings of church.

One part of the role of the shepherd mentioned in Jesus’ teaching is to bring the sheep in to the sheepfold at the end of the day. Thieves and bandits are able to use the cover of night to attack the sheep if outside or not adequately protected in the fold. Jesus says that he is the gate which provides access to this safe space. Those who enter through Jesus are those who are legitimately in the sheepfold, whether sheep or shepherd.

This imagery pictures church as safe space in which rest, recuperation and healing can occur because we are sheltered for a time from the challenges and opportunities – the activity – of the daylight hours. Mark Dean’s decision to project his Passion films onto the central altar at Walbrook, the place of Communion, is in line with this teaching about church, as Christ’s Passion and the Eucharist which re-enacts that Passion is our source of renewal and restoration. Having said that, we also need to acknowledge that there are those for whom church has not been a safe space and hear those valid voices while seeking to build safe spaces in the churches of which we are part.

Gates, however, are two-way. They are entries and exits, because we do not experience fullness of life by being shut up in places of safety; if that is our only experience then we are in prison. The life that Jesus envisions here is one of protection during the darkness when thieves are at large combined with freedom to graze outside of the sheepfold in the light of day. Interestingly in Jesus’ teaching here, finding pasture, finding food, growing and developing, are all things that happen outside of the sheepfold. Jesus’ flock find safety in the fold but they find food outside the fold. This focus differs from the traditional way in which the in and out dimensions of church have been thought about in Ecclesiology, thinking about the nature and structure of church. The IN dimension of church has often been thought of as being about fellowship and community while the OUT dimension is generally seen as involving mission.

On this basis, the IN dimension of church is described as being about fellowship and building community. Jesus prayed that believers would be one. This was a prayer for more than unity; it was a prayer for deep fellowship like that between the Father and the Son – may they be one just as you are in me and I am in you (John 17.21). Believers are to invite each other into their lives. The first Christians modelled this as we heard in our New Testament reading: All who believed were together and had all things in common (Acts 2.44). Church at its best keeps this tradition alive. In the Eucharist, for example, we are reminded that we belong to one another by sharing a common meal.

The OUT dimension of church is then seen as being about mission in its broadest sense. This mission, summed up in the phrase 'kingdom of God', is about bringing wholeness to the entire creation. Its sweep is therefore breathtaking! The mission of the church is seen in this wide context. The church is not the kingdom of God and we must not reduce the horizons of God's mission to the horizons of God's church. But the church is called to share in God's mission.

Although this thinking about the IN and OUT dimensions of Church has validity, as we have already noted, it does not completely accord with Jesus’ teaching here. This is, in part, because the Church has sometimes made an unfortunate separation between time together in the fold and time out in the world. When this has happened, churches have tried to get Christians to spend as much time together in the fold as possible and have therefore focused primarily on church as the place when God is seen and heard.

Such thinking overlooks the fact that Jesus’ parables are stories of everyday life, often of working life. They are stories of the kingdom of God being seen and experienced and that happens most clearly in our everyday lives rather than in church. When we gather together in the fold, in church, we expect to hear from and experience God, so it is when we then scatter to our homes, workplaces and communities that the real test comes. Do we also encounter and feed on God in those places too; in our homes, workplaces and communities? If we do, then we are experiencing and revealing God in the reality of our lives and that is what actually forms a real and eloquent witness to the reality of God in our lives and world. That is why mission is part of the OUT dimension of church.

Then, like Mark Dean bringing images from outside the church into the church to inform our reflection on crucifixion and resurrection, we, too, can bring back stories of encountering the reality of God in the reality of our lives into our gathering together in church to encourage one another that God is to be found both in church and also in the world he has made.

That thought can also help us with another concern that is rightly raised when there is talk of being in and out in relation to church or salvation; that is an understandable and right concern for those who are or who think themselves to be on the outside. Despite the language of in and out, Jesus’ teaching here is inclusive. The sheepfolds he used as his illustrations were communal. Everyone in the village who had sheep brought their sheep to the communal fold overnight. That is why Jesus talks of other flocks and of the sheep recognising the voice of their shepherd. Metaphorically he is referring to the Jews as one folk and the Gentiles as another to say that in God all will ultimately form one flock. Additionally, as we have seen, the boundary separating those on the inside from those on the outside is only for the creation of a temporary safe space and is then breached as the flock go back into the wider world during daylight hours.

The job of the shepherd – the role that Jesus says he plays - is not to keep the flock cooped up together in the sheepfold but to lead them out to find pasture because the sheep are to experience life in all its fullness and find God in this fullness. We see an example of this happening in practice when we look at the reading from Acts 2. 42 - 47 that we heard earlier. There, the early disciples spent time together in their homes, sharing what they had with each other – possessions, money, food – and learning together from their shepherds, the apostles. But they also left the safety of their own gatherings and went out into the city to the Temple and met and taught there too. So, in their practice there was the same pattern of coming in and going out that we have found in Jesus’ teaching. There was also the fullness of life that Jesus spoke about – we can sense the energy, excitement and enthusiasm of these people as they responded to all that Jesus had done for them by talking about him and sharing what they had with others. They had really come alive, their lives had meaning and purpose, their joy was to share all that they had.

We need this same pattern within our lives too; times of joining together with other Christians and with those who teach and lead us and times of being out in the world, in our families, communities and workplaces. Both are essential to us as Christians. If we are just out in the world without the support of times together in the fold, we are likely to become lost like the sheep for which the shepherd had to search. If we just remain in the fold then we do not experience life in all its fullness and do not reveal the reality of God in the reality of our lives. When we leave the fold - the gathering of God’s people – we do not go out on our own, the good Shepherd, Jesus, leads us out and goes with us that we may experience life in all its fullness, finding God in the reality of our lives.

May we, like the dancers at St Paul’s, learn to navigate the spaces of church and world, coming together for protection and comfort then perforating the boundary and moving out, before returning to the centre and reconnecting in different configurations and, as a result, enabling others to find themselves caught up within the action of these movements.

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Sunday, 14 June 2020

Artlyst: 'Your Space or Mine' and 'The Spiritual Exercises'

My latest article for Artlyst explores two initiatives - an online exhibition 'The Spiritual Exercises' and a series of billboards by Micah Purnell - that were inspired by our early experiences in lockdown.

'There was a moment, writes Mark Dean, Chaplain & Interfaith Adviser to University of Arts London, corresponding to, but not defined by the lockdown, ‘we were collectively living in a way that at least intended to put the needs of the most vulnerable first’ ...

It was during this moment that Dean’s ‘The Spiritual Exercises’ project took place with around a hundred artists responding to an open call resulting in an online exhibition that mediates memory and longing via the parameters of the present.

The moment about which Dean wrote has also been noticed by creative consultant and practitioner Micah Purnell, who has taken a lead ‘from Jack Arts wonderful ‘Community is Kindness’ billboard campaign.’ Covid-19, he suggests, ‘has exposed beauty in dark times for every day.’ ‘Community has become localised due to the lockdown,’ he notes, and ‘we’ve reached out to our immediate neighbours and they have willingly obliged with outstretched arms.’
My other Artlyst pieces are:

Interviews:
Articles:


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Michael Kiwanuka - Solid Ground.

Saturday, 11 April 2020

Exhibitions, resources and artists update

News first of two artists with which I worked while at St Stephen Walbrook:

Stations of the Cross 2020 is a development of Stations 2017, updated for such a time as this, with video works by Mark Dean, and new readings via Zoom (the social distancing medium of the moment) by friends of Arts Chaplaincy Projects, including NHS & Royal Mail workers from the front line, and those working from home, including artists, educators, therapists and priests, remotely recorded on Maundy Thursday. A new video for the 15th Station, made in collaboration with Lizzi Kew Ross & Co, will be posted below on Easter Day. Updated commentaries on the video works written by curator Lucy Newman Cleeve are available here

Hannah Rose Thomas has been interviewed for Impossible Beauty. Hannah has completed her MA at the Prince’s School of Traditional Art in London and has also studied at the Florence Academy of Art and the Russian Imperial Academy of Arts in St. Petersburg. Hannah has found a way to integrate her art and humanitarian work, largely painting portraits of those whom have been persecuted. She desires to use art as a tool for advocacy, bringing a voice to the voiceless into places of influence in the West. She has organized art projects in Jordan with Syrian refuges, with Yezidi women in Northern Iraq who had escaped ISIS captivity, with Rohingya children in refugee camps on the Myanmar border, and with survivors of Boko Haram and Fulani violence in Northern Nigeria.

The Visual Commentary on Scripture (VCS) is a freely accessible online publication that provides theological commentary on the Bible in dialogue with works of art. For Holy Week 2020, VCS has been sharing an exhibition a day every day from Palm Sunday to Easter, exploring Bible passages relevant to that day. Each has been accompanied by a short introductory reflection by VCS Director, Professor Ben Quash. My VCS exhibition entitled 'Back from the Brink' can also be viewed by clicking here.

The National Gallery has an online exploration of the story of Christ's Passion. Click here to discover the story of the Passion, as told through paintings in the National Gallery Collection. Continue to reflect with ‘Inspired to Follow: Art and the Bible Story’, a free resource to help people explore the Christian faith, using paintings and Biblical story as the starting points. It’s been created by St Martin-in-the-Fields in partnership with the National Gallery.

Logos was an exhibition of abstract paintings by David Wojkowicz in galerieCM at the First Republic Central Church of the Evangelical Methodist Church in the heart of Prague. The church opens its spaces to artists whose work is the spark of the Holy Spirit, who will revive their spaces and inspire those who come. Wojkowicz's paintings are inspired by the Bible and biblical theology. His goal is to illustrate both well-known and lesser-known verses and entire stories from all of the Scriptures. The paintings are created on a computer using graphic vector software. The paintings are made using a method that he invented and are the result of the blending of at least seven similar (or dissimilar) images.

Roman Barabakh’s The Origins at IconArt in Prague was an attempt by the artist to record his own experiences around the theme of creation. Taking the image of an Old Testament passage about the Creation of the World, Barabakh built his own seven-day photo story. Through his use of metaphorical depictions, Barabakh tries to reimagine familiar ideas and concepts from scripture. Here, these concepts are visualised through the medium of photography.

The mission of Iconart contemporary sacred art gallery is to exhibit, collect and make available for sale sacred icon art of contemporary artists from different regions of Ukraine. Iconart opened in Lviv, Ukraine on February 14, 2010 with an icon exhibition of the work of Ivanka Krypyakevych-Dymyd called “Between the Nativity and the Resurrection. The Icon and Around It”. Since its inception, the gallery has introduced visitors to the best examples of current religious Icon paintings of artists from the Lviv region, including the work of Petro Gumenyuk, Ivanka Krypyakevych-Dymyd, Oksana Romaniv-Triska, Lyuba Yatskiv, young creators Danylo Movchan, Natalya Rusetska, Ostap Lozynsky, along with representatives of other Ukrainian schools of sacred art, such as Oleksandr Antonyuk, Andriy Kovalenko, and Olga Kovtun.

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Michael McDermott - Carry Your Cross.

Saturday, 8 June 2019

Mark Dean: Color Motet





In his book God in the Gallery: A Christian Approach to Modern Art Daniel Siedell suggests that many works of modern and contemporary art are ‘poignant altars to the unknown god in aesthetic form.’ He makes this claim because such works manifest the priestly function of ‘yearning for a liturgical reality that reveals the world as gift and offering.’ These altars/artworks become a ‘place in which the visible and invisible creations, the tangible and intangible creations, are linked together.’

Mark Dean made his first looped film appropriation work in the 1970’s while studying photography and painting; in the 1980’s he began working with musical loops in bands and as a DJ; he eventually combined these practices in the methodology for which he became recognised as a video and sound artist. The ‘votive’ implications of Dean’s work took on new significance when he was ordained in the Church of England in 2010. He is not seeking to make images of God, however, but rather the representation of personhood; that is, the experience of being a person in a world where there is a God. His practice has synergies therefore with Siedell’s citing St John of Damascus in identifying humanity as the ‘place in which the visible and invisible creations, the tangible and intangible creations, are linked together.’

In 2017 Dean began to incorporate actual altars into his work when his 14 Stations of the Cross videos were projected onto the Henry Moore altar in St Stephen Walbrook church during an all-night Easter vigil. With Color Motet (2019) he is projecting onto a relatively new altar, in blood red Venetian plaster, created by the ceramicist Julian Stair as part of the re-ordering of St Augustine’s Hammersmith. The RIBA award-winning refurbishment of the church, was undertaken The Order of St Augustine as the first phase in redeveloping its headquarters in Hammersmith. Fr Gianni Notarianni, parish priest and artist, commissioned the architect Roz Barr together with craftspeople and designers such as Stair and John Morgan to transform the building. Stair’s altar now sits below a large cast iron circular light fitting surrounded by a hand-painted fresco incorporating gold leaf on the rear wall of the altar.

Dean’s piece is a new video and sound work which combines film extracts of Sister Corita Kent’s pop art Mary’s Day celebrations, with footage taken from wedding videos where people are fainting. Additionally, Thomas Tallis’ 40-part Renaissance motet plays over them. The work continues the artist’s investigation into the liturgical potential of his art works, in this instance with video functioning as an altar frontal.

A motet is a polyphonic sacred choral composition, usually unaccompanied, in which ‘the fundamental voice (tenor) was usually arranged in a pattern of reiterated rhythmic configurations, while the upper voice or voices (up to three), nearly always with different Latin or French texts, generally moved at a faster rate.’ Dean’s piece is also polyphonic as it fuses and collages its two videos and mixes two versions of Spem in Alium – Tallis’s motet and a plainchant setting of the same text:

I have never put my hope in any other
but in Thee, God of Israel
who canst show both wrath and graciousness
and who absolves all the sins
of humanity in suffering
Lord God
Creator of Heaven and Earth
Regard our humility

It is likely that Tallis designed Spem in Alium ‘to be heard ‘in the round’, with the audience seated within a circle of singers.’ ‘Beginning with a single voice, the composer deploys as many effects as he can, displaying a mastery of counterpoint and scoring all 40 voices together at four key moments.’ In a similar way, the Mary’s Day processions organised by the art department of the Immaculate Heart of Mary school in Los Angeles and led by Sister Corita Kent, were designed to be immersive happenings. Such immersive liturgical rites can be overwhelming, as with Dean’s second video in which people faint or collapse during services. Color Motet celebrates such rites and the connection between heaven and earth, the human and the divine, that they attain.

As a priest, Dean mediates between creation and Creator. Alexander Schmemann has asserted that the priest: ‘stands in the center of the world and unifies it in his act of blessing God, of both receiving the world from God and offering it to God—and by filling the world with his Eucharist, he transforms his life, the one that he receives from the world, into life in God, into communion with him.’ With Stations of the Cross, Stations of the Resurrection, Pastiche Mass and now Color Motet, Dean is exploring the extent to which his art can also become a ‘place in which the visible and invisible creations, the tangible and intangible creations, are linked together.’

Color Motet is exhibited by Austin Forum as part of HF ArtsFest (Hammersmith & Fulham Arts Festival). Austin Forum aims to re-establish a strong and creative relationship between the Catholic Church and the Arts, especially within contemporary visual art. In the twentieth century, the Catholic Church invited its members to “read the signs of the times”. In response to that, Austin Forum is working with artists whose artistic expressions say something about the world and the human condition today. Austin Forum celebrates the creativity and practice of emerging and established artists and invites them to engage and respond to the sacred space thereby enhancing worship and contemplation in the church.

Mark Dean - Color Motet, 1-9 June, Mon-Fri: 9-11.45am, 2-7pm, Saturday: 2-5.30pm (please note: closed Saturday morning), and Sunday: 2-6pm. https://www.austin-forum.org/mark-dean-color-motet. Mark Dean - the artist - https://tailbiter.com/.

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Thomas Tallis - Spem In Alium. 

Monday, 1 April 2019

Artlyst: John Kirby, Mark Dean, William Congdon

Artlyst have just published a review of the recent exhibition by John Kirby, a piece about Mark Dean's Pastiche Mass and a feature article on the work of William Congdon and his connections with Kettle's Yard.

'Congdon first visited [Jim] Ede at Kettle’s Yard in 1966. He described the house as ‘that prayer that you live’ and regarded it as a place where ‘art may truly breathe in God.’ In the collection gathered together in the house, Congdon believed that God was giving through Ede. An exhibition of Congdon’s work was curated by Ede at Clare College Cambridge in 1968 and this year (2019) saw a second such exhibition held at Jesus College Cambridge.

Congdon: American Modernist Abroad focused on the international experience of Congdon as a tireless traveller and artist.' 

'[Mark] Dean has explained that ‘the series is based on the musical form of a Mass, which is of course in itself based on the liturgical form of the Mass (Eucharist, or Holy Communion)’:

‘The starting point was hearing Aretha Franklin’s recording of ‘Save Me’, which uses the same riff as Van Morrison’s ‘Gloria’. I made a video work combining elements of these two songs with Nina Simone’s and Patti Smith’s respective versions of them. I then proceeded to make works based on the other sections of the Mass – Kyrie, Credo, Sanctus, Benedictus, and Angus Dei.’'

'Much of Kirby’s work has been driven by the expression of repression through the stiff and secretive interiority and surreality of his images. This driven-ness has its roots in internal struggles relating to religion and sexuality. Kirby’s use of the line ‘All Passion Spent’ from Milton Samson Agonistes may suggest the private search of his characters for calm, as well as an increasing sense of personal peace.

One hopes that Kirby’s passion is not spent and that the showing of his work is not stilled as it would be fascinating to see the images that could result from the stilling of the storm in Kirby’s work and characters; to see what peace may look like on the stage that he has constructed.'

My other Artlyst articles and interviews are:
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Pēteris Vasks - Lord, Open Our Eyes.

Saturday, 2 March 2019

Art events & exhibitions update 2



Leaves for Healing is a two-part exhibition organised by the artist’s and craftspersons’ group at St Martin-in-the-Fields. During Lent the exhibition runs from 6 March - 20 April and in Eastertide from 21 April - 9 June. 

The theme is taken from Ezekiel 47:1-12, a vision of a transformed desert landscape. 18 artists from the congregation are showing work, some of which was created in the Drawing Club and art workshops organised by the group.

Ezekiel 47:1-12 is a marvellously evocative passage using much natural imagery – water, rivers, sea, swamps, marshes, fish, trees, fruit, leaves etc. The temple, as the place where God’s presence was very real, is seen as the source of new life, water flowing out and into the landscape, transforming the barren, empty desert into incredibly fertile land. In a barren landscape the passage finishes with a wonderful vision of the fruit from the trees that grow being food and the leaves used for healing. We have here a vision of life being released into the dry desert of Ezekiel’s time and encouragement for us to imagine this life flowing into our 21st century context. 

The exhibition utilises this imagery to explore themes of flourishing, growth, healing and worship. The two halves of the exhibition reflect the transition from wilderness to fertile land.



Pastiche Mass, Thursday 21 March 2019, 6.00pm, Chelsea College of Arts, 45 Milbank, London SW1P 4JU

Pastiche Mass is a liturgical artwork composed and led by artist and ordained minister Mark Dean.

Dean has replaced the choral parts of the traditional mass setting with video and sound, incorporating a mixture of original and appropriated film and music. The work will premiere in the context of a Eucharist in the Banqueting Hall at Chelsea College of Arts, where Dean is licensed to minister the sacraments as chaplain.

All welcome, but places are limited, so please register for a free ticket in order to attend the event. The service will start shortly after 6pm. Please stay for refreshments afterwards.

Hosted by Art + Christianity and Arts Chaplaincy Projects.



Solace at St Peter's - Lent Creative Workshops on Wednesdays: March 13th, March 27th, April 3rd. 12noon – 3pm & Saturdays: March 16th & April 6th. 12noon-3pm. St Peter De Beauvoir Town, Northchurch Terrace, London N1 4DA.

This Lent, artists Sophie Alston and Ingrid Pumayalla (working from Peru), with students under the auspices of Arts Chaplaincy Projects (University of the Arts, London) will create: SOLACE AT ST PETER’S.

Using natural materials from around the neighbourhood and textile crafts, everyone is invited to St Peter de Beauvoir, to create a series of sculptures around the building, exploring the themes of spring and new life, and nurturing connections between congregation and community.

Sophie Alston & Ingrid Pumayalla are MA Fine Art graduates from Central Saint Martins with experience of participatory, craft-based residencies – most recently collaborating in an arts project at Princess Alice Hospice in Surrey, as recently exhibited in the Window Galleries at CSM.

They have a shared interest in the spiritual potential of art for healing and will be working with the community in and around St Peter de Beauvoir Town during Lent to create a series of sculptural installations exploring themes of spring and new life.

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Mark Hollis - A New Jerusalem.

Friday, 27 October 2017

Art awakening humanity





Art awakening humanity was an afternoon of short talks and meditations organised by St Stephen Walbrook in partnership with Awakened Artists and Watkins Mind Body Spirit Magazine. The event included contributions from artists, collectors & spiritual teachers centered around the relationship between art and the spiritual dimension. Inspired by a recent interview with Eckhart Tolle in Mind Body Spirit Magazine, the afternoon offered a wide range of perspectives on our theme of art awakening humanity. Participants described the event as: "Wonderful, inspirational" and "Spiritually uplifting conference."

I began the afternoon with a brief outline overview of Modern Art & Spirituality. We then heard from Roseline de ThĂ©lin speaking on the theme of Art: language of the soul, with a key focus on art and wonder. De ThĂ©lin is an interdisciplinary visual artist as well as a creative coach and art therapist. The subject of Light has been central in her artistic and philosophical inquiry. Combining a diversity of digital and hands on media she produces pieces that play with illusion and perceptions. She is known for the unique work she developed with fiber optic, symbol of the endless possibilities carried by photons. Roseline facilitates Art Retreats that foster creative investigation, discovery, innovation and self-awareness.

Art historian Edward Lucie-Smith gave his Agnostic’s view of art and spirituality. Edward Lucie-Smith is an internationally known art critic and historian, who is also a published poet and a practicing photographer. He has published nearly two hundred books in all. He is generally regarded as the most prolific and the most widely published writer on contemporary art. A number of his art books are used as standard texts throughout the world. He has organised exhibitions in a number of galleries worldwide. He has also served on juries of the Cairo, Alexandria and Sharjah Biennials.

David Neita and Theresa Roberts discussed aspects of the Jamaican Spiritual which Theresa curated for St Stephen Walbrook in July. Theresa Roberts is an art collector specializing and promoting Jamaican Art and artists. She has held Jamaican Art exhibitions at various important venues in the UK including The House of Lords, Europe House, Cambridge University and this year St Stephen Walbrook. During the London Olympics Theresa held a combined Art and Fashion show at Jamaica House as part of the Independence Day celebrations. She showcases her collection of Jamaican art at her home of Hanover Grange in Montego Bay in Jamaica.

Jonathan Kearney showed examples of a wide range of digital art in discussing Art, Theology and The Digital. Kearney has extensive experience of exhibiting his work worldwide, with recent exhibitions having been seen in China, Brazil and London. For nine years, Kearney has pioneered the opportunity to study a Fine Art masters course online. This innovative approach to learning is backed by his research and experimentation, which shows how digital tools can enhance both learning and art practice. Jonathan is fascinated by the intersection of art, theology and the digital.

Mark Dean told his personal story of partial salvation through art before discussing The Esoteric In Art. Dean says, “As an artist I do not seek to make images of God but rather the representation of personhood; that is, the experience of being a person in a world where there is a God. This world is not easy, and there are experiences of trauma and isolation; but God (and thus the created world) is good, and so there is beauty and the hope of redemption.”

Jonathan KoestlĂ©-Cate specifically probed the conference title for understanding in his presentation, utilising works by Bruce Nauman, Alice Neel, Jonathan Monk and Alejandro Tobon Rojas, in doing so. KoestlĂ©-Cate says, “I have followed closely the church’s increasing willingness to work with contemporary artists and to deploy modern media within its spaces. I have since become a regular contributor to debates on the relationship of Christianity and the visual arts, taking a particular interest in the role of modern and contemporary art in ecclesiastical spaces, but also the wider presence of themes of religion, spirituality and the sacred within the art world more generally”.

Alexander de Cadenet shared an extract of his interview with Eckhart Tolle and spoke about the Awakened Artists Group before ending with a singing bowl meditation. De Cadenet says, "For me, art is way of exploring what gives life a deeper meaning and evolves in relation to my own life journey. Being an artist is about having a voice in the world, a pure and authentic voice in a challenging world. It is a way of sharing personal insights and encounters with the world, of exploring the mysteries of our existence and our place in the grand scheme. Art is the intersection between the formless dimension and the world of form, it embodies our connection to nature or the
intelligence that is responsible for our existences."

Exploring art and spirituality broadly is one of many ways in which St Stephen Walbrook, and the Church more widely, seek to support and strengthen the real relationship that exists between art and the spiritual.

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Glenn Hansard - Time Will Be The Healer.

Saturday, 24 June 2017

Art awakening humanity



Art awakening humanity is a conference organised by St Stephen Walbrook in partnership with Alexander de Cadenet and Watkins Mind Body Spirit Magazine that will explore the relationship between art and the spiritual dimension by taking words spoken by Eckhart Tolle in an interview with Mind Body Spirit Magazine as inspiration:

“Beauty arises when something more essential or deeper, something that underlies the world of sense perception shines through. It is what I call the ‘underlying Intelligence’ that is the organizing principle behind the world of form, a hidden harmony, as it were”.

”True art can play an important part in the awakening of humanity.”

The conference will be held in the context of an exhibition at St Stephen Walbrook of Alexander de Cadenet’s ‘Life-Burgers’, works which question the vanity of worldly existence and explores the “cultural hero system” proposed by philosopher Ernest Becker.

Presenters:
  • Jonathan Evens - Modern art & spirituality – a brief survey
  • David Cranswick - The role of integrity in traditional craft practices and the ancient cosmology of the pigments, metals and planets
  • Edward Lucie-Smith - An agnostic’s view of art & spirituality
  • Theresa Roberts‘Jamaican Spiritual’: spirituality in Jamaican art
  • Jonathan KearneyArt, theology & the digital: creating new understandings
  • Mark DeanConcerning the esoteric in art
  • Jonathan KoestlĂ©-Cate - Art & Church: ecclesiastical encounters with contemporary art
  • Alexander de Cadenet - The Origin and the purpose of the Awakened Artists Group – a new group exploring the relationship between art and the spiritual dimension
To register for this stimulating conference, click here.

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Gungor - Beautiful Things.

Tuesday, 20 June 2017

come, again: degree show 2 design - central saint martins

Degree Shows at Central Saint Martins are a collective cacophony of voices and creativity. Thanks to University of the Arts London Chaplain and Interfaith Advisor, Mark Dean, I was able to see that for myself this evening at the Private View for Degree Show 2 Design.

Crossing disciplines, Show Two spans from design and fashion to drama and cultural enterprise. Projects on show – whether provocation, performance or product – present a future in the making.

Courses featured in Show Two:
  • Culture and Enterprise programme: BA Culture, Criticism and Curation, MA Innovation Management
  • Drama and Performance programme: BA Performance Design and Practice, MA Performance Design and Practice, MA Character Animation
  • Fashion programme: BA Fashion, BA Fashion Communication, Graduate Diploma in Fashion
  • Graphic Communication Design programme: BA Graphic Design, MA Communication Design
  • Jewellery and Textiles programme: BA Jewellery Design, BA Textile Design, MA Material Futures
  • Product, Ceramic and Industrial Design programme: BA Ceramic Design, BA Product Design, MA Design: (Ceramics); MA Design: (Furniture); MA Design: (Jewellery), MA Industrial Design
  • Spatial Practices programme: BA Architecture, MA Architecture, MA Narrative Environments
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Pulp - Common People.

Sunday, 28 May 2017

Artlyst interview: Mark Dean projects ...








My latest article for Artlyst is an interview with Mark Dean, whose Stations of the Cross we recently hosted at St Stephen Walbrook as an all-night Vigil on Easter Eve.

In the interview Mark speaks about the elements of his work which often come together in quite surprising ways. He says:

"It does sometimes feel like it’s not just up to me – that there is an underlying relationship that I am drawing out, or noticing. And so the collaborative basis of this project feels like an extension of that process. And this is confirmed by the fact that all three of us (and of course the churches we are partnering with) have a common relation in our Christian faith, despite our quite different approaches. So without making grand claims, I would say it is the Holy Spirit that binds it all together. Actually, this goes back to the previous question about the sense of the sacred in art. The late critic Stuart Morgan once said to me that the problem with the Modernist engagement with spirituality wasn’t that it wasn’t real, but that it was somehow exclusive – as though only artists were privy to the spirituality that generated creativity. Understanding the working of the Holy Spirit throughout the world helps us to avoid that kind of elitism, which can be understood as a form of Gnosticism."

This aspect of his work is further explored by Lucy Newman Cleeve in her essay for the Stations2017 catalogue and in an interview that she gave to Elephant Magazine about the project. Stations2017 has been reviewed by Art & Christianity Journal, while the videos shown can be viewed on Mark Dean's website.

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Neil Young - Cowgirl In The Sand   

Sunday, 7 May 2017

The in's and out's of church





 


Here is my sermon from today's 10.00am Eucharist at St Martin-in-the-Fields:

This Easter, at St Stephen Walbrook, we were involved in a two-part art work based on the Stations of the Cross and the Stations of the Resurrection. The first part of this project involved the artist Mark Dean in projecting filmed Stations of the Cross onto the central, circular Henry Moore altar at St Stephen Walbrook throughout the night on Easter Eve.

Mark Dean’s videos were not literal depictions of the Stations of the Cross, the journey Jesus walked on the day of his crucifixion. Instead Dean appropriated a few frames of iconic film footage together with extracts of popular music and then slowed down, reversed, looped or otherwise altered these so that the images he selected were amplified through their repetition. As an example, in the first Stations of the Cross video, a clip of Julie Andrews as the novice Maria from the opening scenes of The Sound of Music was layered over an extract, from the Alfred Hitchcock film Psycho, of a car arriving at Bates Motel where Marion Crane would be murdered by Norman Bates. The blue of the sky and the innocence suggested by Maria’s religious vocation was in contrast with the footage from Psycho, which was indicative of the violent death to which Jesus was condemned.

In this way Dean brought images from outside church into church and made them central to the Easter Vigil by projecting them onto an altar which had been designed for people to gather as a community around the place where God can be found; the Eucharist, the central act of Christian worship, the re-enactment of Christ’s sacrifice.

In St Paul’s Cathedral for the second part of the project, the staging was inverted as the dancers performed in the central space under the dome, whilst Dean’s video was played on television monitors placed around the edge of this circular space. The monitors appeared almost like a clock face marking out the boundaries of human experience. Five dancers emerged from the shadows around the edge of the stage and started to navigate the space, sometimes individually and sometimes in groups, to form tableaux which were visually reminiscent of the acts of protecting, comforting and carrying each other. The dancers regularly perforated the boundary, moving out beyond the stage and the audience, before returning to the centre and reconnecting in different configurations. As a result, the on-lookers found themselves within the action of these movements.

Among the themes that these projections and performances explored therefore were notions of being in and out with the crucifixion as an internal interior focus and the resurrection leading to an outward focus. Similar notions of in and out also inform Jesus’ teaching about the shepherd and the sheep (John 10. 1 - 10), which have traditionally been interpreted as being about the in’s and out’s of salvation meaning that the sheepfold has been seen as representing heaven. Being locked in to a sheepfold overnight seems a strange way of picturing heaven and so I want to explore the imagery of the sheepfold instead in terms of understandings of church.

One part of the role of the shepherd mentioned in Jesus’ teaching is to bring the sheep in to the sheepfold at the end of the day. Thieves and bandits are able to use the cover of night to attack the sheep if outside or not adequately protected in the fold. Jesus says that he is the gate which provides access to this safe space. Those who enter through Jesus are those who are legitimately in the sheepfold, whether sheep or shepherd.

This imagery pictures church as safe space in which rest, recuperation and healing can occur because we are sheltered for a time from the challenges and opportunities – the activity – of the daylight hours. Mark Dean’s decision to project his Passion films onto the central altar at Walbrook, the place of Communion, is in line with this teaching about church, as Christ’s Passion and the Eucharist which re-enacts that Passion is our source of renewal and restoration. Having said that, we also need to acknowledge that there are those for whom church has not been a safe space and hear those valid voices while seeking to build safe spaces in the churches of which we are part.

Gates, however, are two-way. They are entries and exits, because we do not experience fullness of life by being shut up in places of safety; if that is our only experience then we are in prison. The life that Jesus envisions here is one of protection during the darkness when thieves are at large combined with freedom to graze outside of the sheepfold in the light of day. Interestingly in Jesus’ teaching here, finding pasture, finding food, growing and developing, are all things that happen outside of the sheepfold. Jesus’ flock find safety in the fold but they find food outside the fold. This focus differs from the traditional way in which the in and out dimensions of church have been thought about in Ecclesiology, thinking about the nature and structure of church. The IN dimension of church has often been thought of as being about fellowship and community while the OUT dimension is generally seen as involving mission.

On this basis, the IN dimension of church is described as being about fellowship and building community. Jesus prayed that believers would be one. This was a prayer for more than unity; it was a prayer for deep fellowship like that between the Father and the Son – may they be one just as you are in me and I am in you (John 17.21). Believers are to invite each other into their lives. The first Christians modelled this as we heard in our New Testament reading: All who believed were together and had all things in common (Acts 2.44). Church at its best keeps this tradition alive. In the Eucharist, for example, we are reminded that we belong to one another by sharing a common meal.

The OUT dimension of church is then seen as being about mission in its broadest sense. This mission, summed up in the phrase 'kingdom of God', is about bringing wholeness to the entire creation. Its sweep is therefore breathtaking! The mission of the church is seen in this wide context. The church is not the kingdom of God and we must not reduce the horizons of God's mission to the horizons of God's church. But the church is called to share in God's mission.

Although this thinking about the IN and OUT dimensions of Church has validity, as we have already noted, it does not completely accord with Jesus’ teaching here. This is, in part, because the Church has sometimes made an unfortunate separation between time together in the fold and time out in the world. When this has happened churches have tried to get Christians to spend as much time together in the fold as possible and have therefore focused primarily on church as the place when God is seen and heard. Such thinking overlooks the fact that Jesus’ parables are stories of everyday life, often of working life. They are stories of the kingdom of God being seen and experienced and that happens most clearly in our everyday lives rather than in church. When we gather together in the fold, in church, we expect to hear from and experience God, so it is when we then scatter to our homes, workplaces and communities that the real test comes. Do we also encounter and feed on God in those places too; in our homes, workplaces and communities? If we do, then we are experiencing and revealing God in the reality of our lives and that is what actually forms a real and eloquent witness to the reality of God in our lives and world. That is why mission is part of the OUT dimension of church.

Then, like Mark Dean bringing images from outside the church into the church to inform our reflection on crucifixion and resurrection, we, too, can bring back stories of encountering the reality of God in the reality of our lives into our gathering together in church to encourage one another that God is to be found both in church and also in the world he has made.

That thought can also help us with another concern that is rightly raised when there is talk of being in and out in relation to church or salvation; that is an understandable and right concern for those who are or who think themselves to be on the outside. Despite the language of in and out, Jesus’ teaching here is inclusive. The sheepfolds he used as his illustrations were communal. Everyone in the village who had sheep brought their sheep to the communal fold overnight. That is why Jesus talks of other flocks and of the sheep recognising the voice of their shepherd. Metaphorically he is referring to the Jews as one folk and the Gentiles as another to say that in God all will ultimately form one flock. Additionally, as we have seen, the boundary separating those on the inside from those on the outside is only for the creation of a temporary safe space and is then breached as the flock go back into the wider world during daylight hours.

The job of the shepherd – the role that Jesus says he plays - is not to keep the flock cooped up together in the sheepfold but to lead them out to find pasture because the sheep are to experience life in all its fullness and find God in this fullness. We see an example of this happening in practice when we look at the reading from Acts 2. 42 - 47 that we heard earlier. There, the early disciples spent time together in their homes, sharing what they had with each other – possessions, money, food – and learning together from their shepherds, the apostles. But they also left the safety of their own gatherings and went out into the city to the Temple and met and taught there too. So, in their practice there was the same pattern of coming in and going out that we have found in Jesus’ teaching. There was also the fullness of life that Jesus spoke about – we can sense the energy, excitement and enthusiasm of these people as they responded to all that Jesus had done for them by talking about him and sharing what they had with others. They had really come alive, their lives had meaning and purpose, their joy was to share all that they had.

We need this same pattern within our lives too; times of joining together with other Christians and with those who teach and lead us and times of being out in the world, in our families, communities and workplaces. Both are essential to us as Christians. If we are just out in the world without the support of times together in the fold we are likely to become lost like the sheep for which the shepherd had to search. If we just remain in the fold then we do not experience life in all its fullness and do not reveal the reality of God in the reality of our lives. When we leave the fold - the gathering of God’s people – we do not go out on our own, the good Shepherd, Jesus, leads us out and goes with us that we may experience life in all its fullness, finding God in the reality of our lives.

May we, like the dancers at St Paul’s, learn to navigate the spaces of church and world, coming together for protection and comfort then perforating the boundary and moving out, before returning to the centre and reconnecting in different configurations and, as a result, enabling others to find themselves caught up within the action of these movements.

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John Rutter - Gloria.

Saturday, 6 May 2017

The art of discovering beauty

Here is the Thought for the Week that I have prepared this week for St Martin-in-the-Fields:

After Easter I read ‘The Spiritual Dynamic in Modern Art’ in which Charlene Spretnak demonstrates that ‘nearly every significant art movement of the modern period emerged partially in response to spiritual issues in the zeitgeist and the particular spiritual interests of numerous artist s’.

For many years, however, ‘the spiritual dynamic in modern art was all but invisible within the professional art world because it did not fit within the contours of the historicism of modern art’ as ‘the informing values and preferences of the secular modern worldview’ meant that spiritual content was viewed as ‘unbearably backward … irrelevant, and … distasteful’.

The book daylights ‘the great underground river of spiritual influences’ which ‘flowed through nearly all the major art movements’ of the modern era. St Martin’s, through its programme of loans, commissions and exhibitions, has also contributed to the ‘daylighting’ of this river. The present increasing awareness of these influences amounts to a resurrection or revival of interest in the links between spirituality and art.

At St Stephen Walbrook, our All Night Vigil on Easter Eve, based on Mark Dean’s films for the Stations of the Cross projected onto our Henry Moore altar, also daylighted these spiritual influences by means of readings exploring the spiritual influences of modern artists such as Andy Warhol and Yves Klein.

A prayer written by Yves Klein asks that God grant him ‘the favour of inhabiting my works and that they may become ever more beautiful, and also the favour that I may continually and regularly discover ever new and lovelier things in art even if alas I may not always be worthy to be a tool for the construction and creation of Great Beauty. Please let everything that comes out of me be Beautiful. Amen

I will be preaching in the 10.00am Eucharist at St Martin's tomorrow and will be saying more about Stations2017 in my sermon.

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Bob Dylan - Things Have Changed.