SW3 & Resurrection exhibitions

SW3, by Alice Bree, Zi Ling and Brian Mears

This exhibition, curated by Eldarin Yeong Studio, showcases the works of three inspiring artists responding to the theme of 'Delight'. The exhibition is open for public view until Saturday 18 March 2017 at Chelsea Gallery, Chelsea Library, Chelsea Old Town Hall, King's Road, SW3 5EZ. Monday, Tuesday and Thursday, 9.30am to 7.30pm, Wednesday, Friday and Saturday, 9.30am to 5pm. 

Alice Bree is a ceramic artist trained at the Central School of Art and Design in the 80s. She taught ceramics in the Drawing Schools at Eton College and the University of Hertfordshire for over ten years. Her work has been influenced by Gordon Baldwin with whom she worked at Eton. Her earthenware decorated with engobes produces an organic and colourful surface structure in a distinctive style.

Zi Ling is a visual artist trained at the Chelsea College of Arts and Central Academy of Fine Arts China. Her watercolour portraits and figurative works have been presented at the Royal Insititute of Painters in Water Colours, Lynn Painter-Stainers Prize, Sunday Times Watercolour Competition, Columbia Threadneedle Prize, Society of Women Artists, and the National Art Museum of China.

Brian Mears is a self-taught watercolour artist who started painting after his retirement from the Merchant Navy as an engineer. Apart from nature, he has also been inspired by the works of Caspar Friedrich. His watercolour landscapes, capturing the English countryside with delicacy and detail, have been featured in exhibitions at the church of St Martin-in-the-Fields and at the Menier Gallery,



Resurrection exhibition

The Hurtado Centre’s Resurrection Exhibition has at its heart the ambitious goal of inviting people into an experience of the Resurrection itself, to taste what it is like to be restored in the fullness of humanity. If it succeeds even to some extent, it will have been more than worthwhile. 

Artists from many different Christian and artistic backgrounds have contributed works that convey the history of salvation of which the Resurrection is the culmination. They hope that the richness of their work will give a felt sense of the beauty of the Resurrection. Art has a special vocation to show forth truths which words alone are inadequate to express. As Pope Benedict XVI said: ‘Reason alone as it's expressed in the sciences can't be man's complete answer to reality, and it can't express everything that man can, wants to, and has to express. I think God built this into man. Art along with science is the highest gift God has given him.” (Salt of the Earth: The Church at the End of the Millennium, Ignatius Press, San Francisco, 1997, p. 47)

The Hurtado Jesuit Centre in partnership with Farm Street Jesuit Church, and St Patrick’s Art Studios. Entry to the exhibition is free and many works are for sale. It is billed as being the largest exhibition of contemporary Christian art in the Capital for over a decade with over thirty artists exhibiting and more than seventy pieces on display. Artists include Andrew White, Francis Hoyland, Penny Warden and Marcia Scott as well as other established and up and coming figures.

The Resurrection Exhibition will be open on the following dates

The Hurtado Jesuit Centre, 2 Chandler Street, E1W 2QT - 19.00-21.30 21st April-2017: Private Viewing 10.30-17.30 22nd and 23rd April 2017: Open to the Public

Farm Street Church, Mayfair: 19.00-21.30 28th April-2017: Private Viewing 10.30-17.30 29th and 30th April 2017: Open to the Public

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U2 - Desire.

SW3: Delight - Alice Bree, Zi Ling & Brian Mears

SW3 by Alice Bree, Zi Ling and Brian Mears

​EXHIBITION DATES 7 March - 18 March 2017

Chelsea Gallery, Chelsea Old Town Hall London

Opens from Mondays to Saturdays 09:30am - 05:00pm, Sundays 01:00pm - 04:00pm

This exhibition, curated by Eldarin Yeong Studio, showcases the works of three inspiring artists responding to the theme of 'Delight'.

Alice Bree is a ceramic artist trained at the Central School of Art and Design in the 80s. She taught ceramics in the Drawing Schools at Eton College and the University of Hertfordshire for over ten years. Her work has been influenced by Gordon Baldwin with whom she worked at Eton. Her earthenware decorated with engobes produces an organic and colourful surface structure in a distinctive style.

Zi Ling is a visual artist trained at the Chelsea College of Arts and Central Academy of Fine Arts China. Her watercolour portraits and figurative works have been presented at the Royal Insititute of Painters in Water Colours, Lynn Painter-Stainers Prize, Sunday Times Watercolour Competition, Columbia Threadneedle Prize, Society of Women Artist, and the National Art Museum of China.

Brian Mears is a self-taught watercolour artist who started painting after his retirement from the Merchant Navy as an engineer. Apart from Nature, he has also been inspired by the works of Caspar Friedrich. His watercolour landscapes, capturing the English countryside with delicacy and detail, have been featured in exhibitions at the church of St Martin-in-the-Fields and at the Menier Gallery, London.

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Carleen Anderson - Maybe I'm Amazed.

Hidden St Martin's

Artists and craftspeople from the congregation at St Martin-in-the-Fields speak about their 'Hidden St Martin's' exhibition for the 2016 Patronal Festival. The exhibition reflects on the theme from a variety of different perspectives using ceramics, drawings, films, paintings, photographs, text and textiles. The exhibition ends on Sunday 27 November 2016.
We have been inspired by:

• St Martin, who noticed the destitute man at the gate of the city of Amiens.
• Jesus suggests that giving and praying can be done in secret away from the public gaze (Matt 6). Many of the images of the kingdom use seemingly insignificant and often unnoticed things such as a mustard seed (Mark 4) and yeast (Luke 13) and yet both eventually have dramatic effects. 
• The Celtic idea of a thin place, a place where the veil between heaven and earth is thin so what is hidden becomes seen.
• Artists “notice things that other people don’t notice.” (Grayson Perry)

Ali Lyon reclaims hidden aspects of St Martin's recent past with a lectern fall and a photograph of an altar cloth from the period during the Renewal Project when St Martin's was 'on tour'. The fall uses material left after the ‘living stones’ which cover the altar cloth have been cut from the cloth. The fall gathers up the leftovers that would have been thrown away. In God's economy nothing is too hidden or insignificant to find its place and to be of use.

Photographs of St Martin's taken by Jonathan Evens hint at a hidden beyond, by using an object in the foreground to frame a background image. Black and white matt bowls by Alice Bree highlight overlooked or under-appreciated objects through their depiction of stones from a Cornish beach. Vicky Howard’s drawings in lined notebooks or on pamphlets derive from a similar impetus. Vicky uses the lines or text as a guide to the patterns that she makes. Through the organic, shifting, ever-changing structures of her drawings she is searching for the form of the shelter in which God will hide us (Psalm 27).

Jon Sandford depicts the divine or heavenly as being hidden at St Martin's in the form of our East Window. The message of Jon's image is hidden in its symbolism, waiting to be decoded. Brian Mears’ explores the invisible qualities of eternal power and divine nature in his painting entitled ‘The Fourth Day’. In Rosalind Beeton’s paintings light, as flecks and dashes of colour, veils the subjects and objects bathing all in divine light. The veil that once hid the divine has been removed and all that was once independent and distinct is now embraced by divinity. Her poetry also explores mystery as in 'The Gatherer', written this year on Patmos, the island of revelation.

St Martin’s has an ongoing ministry of supporting homeless and vulnerably housed peopleacross the UK. Zi Ling’s painting ‘Hope’ from her homelessness series brings to our view people who are often overlooked on our streets. Lightspirit has contributed a poem from the streets, while the ‘Palm Tree’ painted by Rosida Simrick is a reminder of the hidden home that she can no longer see. Our inspiration for this ministry with those who are homeless is the story of St Martin. Jonathan Evens’ collage with a torn meditation on St Martin is a visual reminder of the cloak which St Martin tore to give half to the man at the gate of Amiens.

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Van Morrison - The Beauty Of Days Gone By.

Hidden St Martin's

This exhibition for the Patronal Festival of St Martin-in-the-Fields by artists and craftspeople from the congregation reflects on the theme of 'Hidden St Martins' from a variety of different perspectives using ceramics, drawings, film, paintings, photographs, text and textiles.

We have been inspired by:

• St Martin, who noticed the destitute man at the gate of the city of Amiens.
• Jesus suggests that giving and praying can be done in secret away from the public gaze (Matt 6). Many of the images of the kingdom use seemingly insignificant and often unnoticed things such as a mustard seed (Mark 4) and yeast (Luke 13) and yet both eventually have dramatic effects. 
• The Celtic idea of a thin place, a place where the veil between heaven and earth is thin so what is hidden becomes seen.
• Artists “notice things that other people don’t notice.” (Grayson Perry)

In his 360• film, Jonathan Kearney enables us to explore parts of the Church which are usually hidden from view. His other film reveals the beauty of small details which we normally overlook in our busyness or inattention to our surroundings. Photographs of St Martin's taken by Jonathan Evens hint at a hidden beyond, by using an object in the foreground to frame a background image. Black and white matt bowls by Alice Bree highlight overlooked or under-appreciated objects through their depiction of stones from a Cornish beach.

Ali Lyon reclaims hidden aspects of St Martin's recent past with a lectern fall and a photograph of an altar cloth from the period during the Renewal Project when St Martin's was 'on tour'. The fall uses material left after the ‘living stones’ which cover the altar cloth have been cut from the cloth. The fall gathers up the leftovers that would have been thrown away. In God's economy nothing is too hidden or insignificant to find its place and to be of use. Vicky Howard’s drawings in lined notebooks or on pamphlets derive from a similar impetus. Vicky uses the lines or text as a guide to the patterns that she makes. Through the organic, shifting, ever-changing structures of her drawings she is searching for the form of the shelter in which God will hide us (Psalm 27).

Jon Sandford depicts the divine or heavenly as being hidden at St Martin's in the form of our East Window. The message of Jon's image is hidden in its symbolism, waiting to be decoded. Brian Mears’ explores the invisible qualities of eternal power and divine nature in his painting entitled ‘The Fourth Day’. In Rosalind Beeton’s paintings light, as flecks and dashes of colour, veils the subjects and objects bathing all in divine light. The veil that once hid the divine has been removed and all that was once independent and distinct is now embraced by divinity. Her poetry also explores mystery as in 'The Gatherer', written this year on Patmos, the island of revelation.

St Martin’s has an ongoing ministry of supporting homeless and vulnerably housed people across the UK. Zi Ling’s painting ‘Hope’ from her homelessness series brings to our view people who are often overlooked on our streets. Lightspirit has contributed a poem from the streets, while the ‘Palm Tree’ painted by Rosida Simrick is a reminder of the hidden home that she can no longer see. Our inspiration for this ministry with those who are homeless is the story of St Martin. Jonathan Evens’ collage with a torn meditation on St Martin is a visual reminder of the cloak which St Martin tore to give half to the man at the gate of Amiens.

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Leonard Cohen - Travelling Light.