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Showing posts with label refugees. Show all posts
Showing posts with label refugees. Show all posts

Friday, 6 March 2026

Church Times - Art review: Sanctuary by Nicholas Mynheer (Portsmouth Cathedral)

My latest exhibition review for Church Times is on 'Sanctuary' by Nicholas Mynheer at Portmouth Cathedral:

'THE exhibition “Sanctuary” tells a story as it unfolds through paintings and sculptures surrounding the nave of Portsmouth Cathedral. The story that it tells is one that equates the flight into Egypt — which, in the Coptic Orthodox Church’s tradition, involved travel by boat along the Nile — with the experience of contemporary refugees: Mynheer notes that 117 million people in the past ten years have been refugees or internally displaced.'

Other of my reviews and articles relating to migration can be found here, herehere, here, here, here, here, herehere, here, hereherehere, and here. Mynheer is part of a group of artists who create in the tradition of British visionary art, for more on this group see here.

Other of my pieces for Church Times can be found here. My writing for ArtWay can be found here. My pieces for Artlyst are here, those for Seen & Unseen are here, and those for Art+Christianity are here.

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Monday, 16 February 2026

Portsmouth Cathedral and 'Sanctuary' exhibition












For centuries Portsmouth Cathedral has been a beacon for people on land and at sea, helping them navigate the passage of time with faith and confidence in God. It is a building of greatness and simple enduring beauty, and a lively, inclusive and compassionate community which has a positive impact on the lives of people in its own parish, as well as the City and Diocese of Portsmouth.

From humble beginnings in 1180 at the heart of Portsmouth's original settlement, this church, dedicated to Thomas Becket, became a parish church around 1320 and a Cathedral in 1927. It has been integral to the development of Portsmouth as a modern, vibrant city. There is much interesting art in the Cathedral.

Peter Eugene Ball placed major pieces of sculpture in some of the country’s great cathedrals as well as smaller figures in various parish churches. His intention was always to produce religious art which offers a sympathetic focus for thought and prayer and which complements and enhances the space in which it resides. Beneath the nave organ case in Portsmouth Cathedral is his Christus, while his four Saints and Bishops are to be found in the St Thomas' Chapel..
 
The nave organ case was designed by Didier Grassin in 2001; the inside of the panels were designed by Patrick Caulfield and painted by Alan Murphy:

‘The organ is in the middle of the design – enfolded by a circle. This speaks of unity of sound and glory. It is a universally accessible symbol, as was specified in the artist’s brief. They themselves echo the Grassin case design which features a fish (or Ickthus) motif on the front of the closed case. The four fish – two on the left and two on the right are Christian symbols which, in turn, enfold the circle within.

The left side depicts night. On the left is a stylised depiction of a lighthouse shining on the sea. Here, there is a particular and universal reference. The particular reference is to the motto of the City of Portsmouth, “Heaven’s Light our Guide.” The universal reference is to God in the mandala (or lozenge) shape at the top of the lighthouse. This shape is used in Orthodox iconography to encompass Christ in Glory. The universal in the particular can also be described theologically as Incarnation.

The right side depicts day. On this side is the sun, and a depiction of the hull of a fishing vessel. The Portsmouth fishing fleet uses the identification P. It is also a play on the Christian monogram – Chi-Rho – the first two letters of Christ in Greek.’

The icon of Our Lady of the Sign over the altar in the Lady Chapel, with its richly gilded background, was created by the famous Russian iconographer Sergei Fyodorov, and dedicated on the feast of the Nativity of the Blessed Virgin Mary on 8th September 2002.
 
The ‘sign’ in the title is the sign of Isaiah 7:14 – ‘The young woman is with child and will give birth to a son, whom she will call Emmanuel.’ Mary is the ‘God-bearer’, and Jesus prays within her and blesses us; the icon shows Christ in a roundel or medallion, making a gesture of blessing with his right hand. As Canon Alan Wilkinson, co-donor of the icon, wrote: ’Here is Christ praying in Mary. It is a sign and a reminder that our best prayers are when we are silent and let the Christ hidden in the depths of our being pray to the Father.’

At the time the Fyodorov icon was created, in 2001, the Dean William Taylor wrote about it: ‘Icons interact directly with those who look at them. … a quotation of St Augustine of Hippo sums up the meaning of the icon to those who look at it, or pray before it in faith: “Of what help is it that Jesus was born, if he is not born within us.”’

In the south tower transept is the bronze statue of St John the Baptist by David Wynne. It was cast in 1951 as a memorial to a Winchester College pupil killed on the Matterhorn.

Sanctuary, an exhibition by the artist Nicholas Mynheer is open daily from 18 February to 12 April 2026. The exhibition features paintings and sculptures that explore the experiences of refugees, both ancient and contemporary. The story of Jesus, Mary and Joseph fleeing to Egypt sits alongside the realities faced by people crossing the English Channel today. Mynheer's work doesn't offer easy answers – instead, it asks questions. What would we do if our home were no longer safe? How do we respond to those seeking refuge? What does it mean to hope for a better life when the risks are so great? The exhibition is open during standard cathedral opening hours, and is free to view.

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Sunday, 19 October 2025

Persist in prayer

Here's the sermon I shared this morning at St Gabriel's Pitsea:

In his teaching Jesus sometimes uses the formula; if someone who is bad can do X then how much more should you or how much more will God do X. He uses it, for example, when he talks about God giving the Holy Spirit: if father’s who are bad know how to give good gifts to their children, how much more will God give the Holy Spirit to those who ask him.

When he is at the home of a Pharisee, he uses the example of a person who takes the place of honour at a feast but is moved to the lowest place when someone more important comes to challenge us to be the one of takes the lowest place first. In the Parable of the Dishonest Steward, he challenges us about the importance of relationships by telling the story of a dishonest manager who learns the benefits of relationships through self-interest after losing his job. In today’s Gospel reading he challenges us to go further towards self-sacrifice by saying in the Parable of the Persistent Widow that, if hard-hearted people, like the Judge in that story, can do kind things for selfish reasons, should we not go further and do what is kind anyway, regardless of return.

The widow in the story provides us with an important example of persistence in prayer, while the parable also assures us that God is responsive in a way that the unjust Judge is not initially.

You may have heard stories of those who persisted in prayer or may have had that experience yourself. I like the story of Monica, the mother of St Augustine, who had to persist with her prayer that Augustine would come to faith. Augustine writes in his ‘Confessions’ that God did not grant what she desired at the moment that she first prayed, but, true to his higher purpose, God met the deeper wish of her heart. Monica had to learn to persevere in prayer in the face of what seemed to be a lack of response from God to her prayer. When Jesus told parables about prayer, the stories he told were of those who did what Monica did and kept on praying no matter what. When Monica’s prayer was finally answered it was the deepest wish of her heart that was realised as her son becomes one of the most influential figures in the history of Christianity.

This story gives us one answer to a question that we might well have about the importance of persisting in prayer. We might well ask why, if God is responsive to our prayers, we need to persist with our prayer. One answer is that flagged by Augustine in relation to his mother i.e. that the time is not right yet for our prayer to be answered and therefore we need to wait while continuing to pray. The time may not be right in terms of circumstances. That was the case in Augustine’s life. But it could be that change is needed in our life in order to be the answer to our prayer.

In 'Letters to a Young Poet' the poet Rainer Maria Rilke calls for the unknown to be embraced, and not necessarily puzzled out. Rilke writes: “…have patience with everything unresolved in your heart, and try to love the questions themselves, as if they were locked rooms or books written in a very foreign language. Don’t search for the answers, which could not be given to you now, because you would not be able to live them. And the point is, to live everything. Live the questions now. Perhaps then, someday far in the future, you will gradually, without even noticing, live your way into the answer….” Rilke suggests that we may need to change in order live our way to become the answer to our prayer.

Another reason why we might not recognise God’s response to our prayer is that he may give us what we need, rather than what we want.

There is an old joke about a man caught in floods who believed that the Lord would rescue him. He turns away a neighbour in a dinghy, a lifeboat and a helicopter before the waters rise over his home, all because he believed that the Lord would rescue him. He arrived in heaven in a state of shock. “Lord,” he complained, “why didn’t you protect and rescue me?” “I sent you two boats and a helicopter, “ said the Lord wearily, “what more did you want.”

Sam Wells, Vicar of St Martin-in-the-Fields, has written about this phenomenon in terms of the cornerstone, the stone that the builders rejected. He notes that: “The stone that the builders rejected didn’t find a place in the wall somewhere by being thoughtfully included like a last-minute addition to a family photo. The rejected stone became the cornerstone, the keystone – the stone that held up all the others, the crucial link, the vital connection. The rejected stone was Jesus, as our Gospel reading makes clear. In his crucifixion he was rejected by the builders – yet in his resurrection he became the cornerstone of forgiveness and eternal life.”

He goes on to argue that that’s “what ministry and mission are all about – not condescendingly making welcome alienated strangers, but seeking out the rejected precisely because they are the energy and the life-force that will transform us all. Every minister, every missionary, every evangelist, every disciple should have these words over their desk, their windscreen, on their screensaver, in the photo section of their wallet, wherever they see it all the time – the stone the builders rejected has become the cornerstone.”

This is important, he says, because, if we’re “looking for where the future church is coming from, we need to look at who or what the church and society has so blithely rejected. The life of the church is about constantly recognising the sin of how much we have rejected, and celebrating the grace that God gives us back what we once rejected to become the cornerstone of our lives. That’s what prophetic ministry means.”

As a result, like the drowning man in the joke, we may not recognise the people who can be the answer to our prayers, and may even reject those people, because they are not the people we expected to come along to help. As church and society, there are many people that we reject and exclude, so, as Sam says, we need to look at who or what the church and society has so blithely rejected, to constantly recognise the sin of how much we have rejected, and celebrate the grace that God gives us back what we once rejected to become the cornerstone of our lives.

I saw this happen in practice one year at St Martin-in-the-Fields when Jesus and the disciples in our Palm Sunday Passion Drama were members of the weekly 45-strong asylum-seekers group that meets at St Martin’s every Sunday afternoon, many of them experiencing homelessness and destitution in London – including a Kurdish Iranian, a Ugandan, a Dominican Republican, a Bangladeshi, a Kenyan, a Zimbabwean and a South African. One, a Ghanaian, spent two years travelling to the UK, crossing the Mediterranean from North Africa in a boat and waiting for many weeks in the Calais Jungle. In our Passion Play, at the last supper they gathered around Jesus – played by Sam, a young Afghani refugee - waiting on his every word, knowing from their own lives what it means to hope and pray for salvation.

Sam Wells described what happened to those of us watching this Passion Drama:

“The British public sees asylum-seekers as a threat or at best an administrative burden. The churches tend to see them as objects of pity and mercy. On Palm Sunday they were none of these things. They were prophets, preachers, provocative witnesses to the gospel, challenging us at St Martin’s, used to thinking of ourselves as edgy and politically engaged, with the question of where we each stood in the passion story. This was the first time our International Group has led us into worship. In the past, members of the group have joined our fellowship by acting as wicket-keeper or demon opening bowler in our cricket team, or as waiter for our hospitality events. But on Palm Sunday they were swept up into the passion narrative itself. And they changed the whole way we thought about the story we thought we knew.

Sam from Afghanistan sums up St Martin’s because he is the asylum-seeker who played Jesus in the drama and was water boarded for our salvation. He sums up St Martin’s because we aren’t about condescendingly making welcome alienated strangers, but instead about seeking out the rejected precisely because they are the energy and the life-force that will transform us all. Sam sums up our community not because he gratefully received our pity but because he boldly showed us the heart of God.”

In this way, these people who experience rejection in our society became the answer to our prayer.

Is there a prayer that you have prayed for many years and to which you think God has not provided the answer? I want to encourage you to persist in your prayer but also to look out for unexpected people who might be the answer to your prayer and to consider the times and circumstances of your life which may also bring the answer that you need. For others of us, there may be a prayer that we need to begin praying knowing it will not be an easy prayer to see answered but knowing, too, that it is when we begin to pray that God can act in our lives and the lives of others too. May it be so for each one of us. Amen.

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Aretha Franklin - Are You Sure?

Wednesday, 13 August 2025

Charlecote Park and Fry Art Gallery





 










This week I've visited Charlecote Park in Warwickshire and the Fry Art Gallery at Saffron Walden.

Charlecote Park, a family home for more than 900 years, was transformed in the 1800s into one of the finest examples of Elizabethan Revival style by its owners Mary Elizabeth and George Hammond Lucy.

Overlooking the river Avon on the edge of Shakespeare’s Stratford, it is a place of surprising treasures, which reflect the tastes and memories of the Lucy family.

The exceptionally well preserved working spaces, the laundry, brewhouse and kitchen, give a taste of past activity, while the stables still hold the family carriage collection.

In the parkland, Jacob sheep and fallow deer roam across the landscape designed by 'Capability' Brown, while the formal parterre and shady woodland garden that Mary Elizabeth loved so dearly are a haven for pollinators.

'The Library of Memories' is a brand-new display situated in the upstairs room of the House and open to the public from March 2025. It showcases the writing of Mary Elizabeth Lucy, who lived at Charlecote Park in the Victorian era, and draws on themes of making and sharing memories. We seek to inspire visitors to share their memories with us, and with each other, and find new ways to relate to Charlecote’s past residents. The display focuses on a book from the library written by Mary Elizabeth Lucy, Grandmamma's Chapter of Accidents, that has not previously been displayed.

The Fry Public Art Gallery was opened in 1987 and houses an impressive number of paintings, prints, illustrations, wallpapers and decorative designs by artists of the 20th century and the present day who have local connections and have made a significant contribution to their field. There is an emphasis on those who for a variety of reasons settled in Great Bardfield between the early thirties of the last century and the death in 1983 of John Aldridge RA who had lived in the village for fifty years.

The Great Bardfield artists were a community of artists who lived and worked in and around the village of Great Bardfield in Essex from the 1930s to the 1970s. The community included artists like Edward Bawden, Eric Ravilious, Charlotte Bawden, and Tirzah Garwood, among others. Their work often depicted the local countryside and village life, and the Fry Art Gallery was established to showcase their artistic contributions. 

The Gallery is celebrating its 40th anniversary this year and is delighted to have as guest curator of the exhibition in the main gallery Ella Ravilious, with a celebration of art and design depicting or made for the domestic space ‘Finding a Home at the Fry’. In the Gibson Room they are presenting an opportunity to view and buy a selection of works by Richard Bawden from the later period of his life in Hadleigh, Suffolk. ‘Richard Bawden: the Hadleigh Years’: runs from Saturday 26th July to Sunday 26th October 2025.

A statue of the Great Bardfield artists by Ian Wolter has recently been placed outside the Fry Art Gallery in Saffron Walden, Essex. The statue serves as a welcoming feature for visitors to the gallery, which houses a collection of art by these artists.
 
Other sculptures to be found nearby include:
  • The 'Children of Calais' by Ian Wolter, which is a life-sized sculpture of six children in poses echoing 'The Burghers of Calais' by Auguste Rodin but dressed in contemporary clothing. One of the figures holds a life jacket in place of the city key held in Rodin’s original. The piece is designed to provoke debate about the inhumanity of our response to the children caught up in the current refugee crisis.
  • 'Mary' by Tessa Hawkes. This sculpture at St Mary's Saffron Walden portrays Mary as a young and vulnerable woman, receiving the news from the angel Gabriel that she is to be the mother of Jesus, God's Son. The artist originally intended to portray Mary at a very early stage in the annunciation of a young girl completely bewildered but the eventual sculpture is of a later stage in the annunciation, one of acceptance whilst still a little bewildered.
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The Fire Theft - Heaven.

Sunday, 1 June 2025

The book of Ruth: Migration, eldercare and patriarchy

Together with other clergy from the Diocese of Chelmsford, I had the pleasure of attending and contributing to activities for the Jewish festival of Shavuot as celebrated at Oaks Lane Reform Synagogue.

My contribution was as the Christian representative to a Scriptural Reasoning style session on the book of Ruth, together with Rabbi David Hulbert. Doing so was a particular pleasure because, while Vicar of St John's Seven Kings, I had got to know David through the East London Three Faiths Forum including travelling to the Holy Land with that group, and had also been involved in setting up and running a Scriptural Reasoning Group which included groups from the local Islamic Study Centre, Oaks Lane Reform Synagogue, and Sr John's Seven Kings.

Here is the introduction to the book of Ruth that I shared in the session this evening: 

In the Revised Common Lectionary, which is used by many Church of England parishes for the scripture readings in their services, the book of Ruth is included in Sunday readings once in year A and twice in year B. The Revised Common Lectionary works on a three-year cycle. The daily lectionary also provides 17 additional readings from the book of Ruth.
 
A principle identified by the compilers of the Revised Common Lectionary was allowing for multiple perspectives on a specific text, depending on where the text is assigned in relation to other scripture texts and in relation to the liturgical year. For example, the fidelity of Ruth to Naomi and the Moabite people and God’s fidelity to Ruth and her posterity are related to God’s fidelity to Israel in the Isaiah reading for Advent 3 of year A. The connection is thematic.

In a similar way, for thematic reasons, Ruth is read again in the season after Pentecost in the complementary series of year A. In this instance, where the first reading for Sunday (I Kings 17:8-16) tells of God feeding Elijah and the widow of Zarephath, Ruth’s story is told on Monday through Wednesday to show the compassion of God and of Naomi’s kin for two widows, both Naomi and Ruth.

The book of Ruth is a story of ordinary people. History is commonly but, perhaps misguidedly, spoken about as being written by the victors; the rulers or monarchs with their armies. There is, of course, much in the Hebrew scriptures that is about those who rule and their actions but there are also writings like the book of Ruth which take a very different focus.

One Biblical scholar in the Christian tradition to have written about these twin strands in scripture is Walter Brueggemann. Brueggemann writes about this in terms of the core testimony and the counter testimony. The core testimony is structure legitimating; that is to say it is about order and control – everything in its rightful place and a rightful place for everything. The counter testimony is pain embracing; that is to say it is about hearing and responding to the pain and suffering which is found in existence. The core testimony is “above the fray” while the counter testimony is “in the fray”. The core testimony is about the victors and the counter testimony about the victims.

When the two are brought together Brueggemann thinks the Bible sees the kind of justice we see being worked out in the book of Ruth as key to any form of public leadership: “The claim made is that power – political, economic, military – cannot survive or give prosperity or security, unless public power is administered according to the requirement of justice, justice being understood as attention to the well-being of all members of the community.”

Brueggemann notes that the kind of kingship that we see David and initially Solomon exercise: “had the establishment and maintenance of justice as its primary obligation to Yahweh and to Israelite society. This justice, moreover, is distributive justice, congruent with Israel’s covenantal vision, intending the sharing of goods, power, and access with every member of the community, including the poor, powerless, and marginated.”

As a result, as Gerd Theissen has written that, in the Hebrew scriptures, when compared with other writings from the same time period: “religion takes an unprecedented turn, and becomes instead an agency of healing for the wounded. In the religion of the prophets … we see the distillation of faith in a God who is on the side of the downtrodden rather than their oppressors, and who seeks to bring a new, supernatural order of justice and peace out of the natural laws of selection and mutation which spell death for the weak and powerless.”

With that thought in mind, I would like to share brief reflections on the book in terms of three current issues: migration, elder care, and patriarchal views.

The book of Ruth is one of those places in the Old Testament where women are central to the story and where the story is told from the perspective of the female characters. The book ends however with a genealogy in which the women's world of the story was completely ignored by the male voices of those who compiled a traditional patrilineal genealogy. So, this is a story of women surviving and thriving in a patriarchal world, a struggle that, as we know, continues to this day.

Ruth and Naomi became refugees driven by economic necessity from Ruth’s mother country in Moab to Naomi’s mother country in the land of Judah. They survive and thrive in these challenging circumstances through their commitment to and support of each other. Ruth could have left Naomi, as Orpah did, but there was a bond of friendship between the two women that held them together, as Ruth said to Naomi, ‘Where you go, I will go; where you lodge, I will lodge; your people shall be my people, and your God my God. Where you die, I will die.’ The world of women and female solidarity are therefore at the centre of this story.

Ruth and Naomi show great courage in leaving one culture to enter another, as do all those who become refugees today. In addition, they are proactive and resourceful in seeking ways forward to find security and a significant place in the history of Naomi’s people.

When Ruth and Naomi return to Israel, they are very poor and a local farmer, Boaz, takes pity on Ruth and allows Ruth to do what is described in Leviticus 23 v 22; Boaz leaves the grain at the edges of the fields so that poor people like Ruth can harvest it and make food to survive. Boaz could harvest the whole of his fields and keep all the grain for himself but doesn’t. Instead, he deliberately reduces what he harvests for himself in order to ensure that there is something left over for those less well off than himself. In doing so, he is following a specific instruction from God, which, while not directly applicable to us today because we are not farmers harvesting fields, can still apply if we reduce what we have for ourselves in order that we share something of what we have with others less well off than ourselves.

The story of Ruth, then, is a wonderful story of the benefits and joy of caring for others, even in the midst of tragedy. Difficult circumstances and tragedy can be the prompt or spur for real acts of care, as we saw happen to a significant extent during the Covid pandemic.

As a result, I once used this story in a funeral address. Fred and Ivy knew tragedy in their lives, particularly through the untimely deaths of their two children. Such heartbreak can cause people to look inward and shut themselves off from others and from God, but that was not the response of Fred and Ivy who continued to love and support each other, to care for Ivy’s parents in their old age and, then, Fred cared faithfully for Ivy as she approached death.

Ruth and Naomi returned to Naomi’s home where Ruth’s care for her mother-in-law was recognised and rewarded by Boaz, a landowner, who firstly found ways to support the two women and later married Ruth bringing an end to the poverty in which they had lived since the tragedy of their husband’s deaths. Similarly, the need that Fred and Ivy had in their lives to receive support and care, as well as to give it, was also recognised. Cousins and long-time friends stayed in regular contact. Closer to their home in Ilford, Fred received care and support from Janet and Gill, who met him through church and a lunch club.

People may ask where was God in the tragedies that occur in these stories; the untimely deaths of Ruth and Naomi’s husbands and also of Fred and Ivy’s children. Where was God? In talking with Janet about Fred, she said, “The Bible says that people should not live alone. We can’t always be close to those who need care. Others can be a substitute. Just keeping an eye on another is not to be sneezed at.” So, I concluded in this funeral address that, as we offer practical care to those nearby and the support of remaining in regular contact with those further away, we are the hands and feet, the eyes and ears of God in this world. That kind of care is also what I think we see modelled for us in the book of Ruth.

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Victoria Williams - What Kind Of Friend.

Monday, 31 March 2025

Ben Uri: Essay of the Week

In 2023 I curated an online exhibition for the Ben Uri Gallery which is entitled Exodus & Exile: Migration Themes in Biblical Images. The exhibition includes a range of Biblical images from the Ben Uri Collection in order to explore migration themes through consideration of the images, the Bible passages which inspired them and the relationship between the two. This is because themes of identity and migration feature significantly in both the Hebrew and Christian Bibles and images from these Bibles are a substantive element of the Ben Uri Collection.

The combination of images and texts enables a range of different reflections, relationships and disjunctions to be explored. The result is that significant synergies can be found between the ancient texts and current issues. In this way, stories and images which may, at first, appear to be describing or defining specific religious doctrines can be seen to take on a shared applicability by exploring or revealing the challenges and changes bound up in the age-old experience of migration.

The Gallery said: "We are delighted to present a new exhibition interpreting works from our collection titled Exodus and Exile. The survey has been curated by Revd Jonathan Evens who has a long-established parallel interest in art and faith and how they are mutually engaging. We are privileged to benefit from his scholarship and innate sensitivity and am sure you too will be inspired by his selection and commentary."

Alongside the exhibition is an essay Debt Owed to Jewish Refugee Art, an updated version of an article I originally wrote for Church Times looking at influential works by émigré Jewish artists that were under threat. The article mentions Ervin Bossanyi, Naomi Blake, Ernst Müller-Blensdorf, Hans Feibusch, and George Mayer-Marton, telling stories of the impact of migration on the work and reputations of these artists.

Following the launch of the exhibition, I wrote an article 'How the incomer’s eye sees identity' for Seen and Unseen explaining how curating an exhibition for the Ben Uri Gallery & Museum gave me the chance to highlight synergies between ancient texts and current issues. This week, this article is Essay of the Week for Ben Uri. Click here to read the article:

'The combination of images and texts I selected from the Ben Uri Collection enabled a range of different reflections, relationships and disjunctions to be explored. These include the aesthetic, anthropological, devotional, historical, sociological and theological. The result is that significant synergies can be found between the ancient texts and current issues. In this way, stories and images which may, at first, appear to be describing or defining specific religious doctrines can be seen to take on a shared applicability by exploring or revealing the challenges and changes bound up in the age-old experience of migration. This was important in writing for an audience including people of all faiths and none, and in writing for an organisation which seeks to surpass ethnic, cultural and religious obstacles to engagement within the arts sector.'

To see 'Exodus & Exile: Migration Themes in Biblical Images' click here, to read my related essay 'Debt Owed to Jewish Refugee Art' click here, for my post about the exhibition and essay click here, and for more on the Ben Uri Gallery click here.

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Dry The River - History Book.

Monday, 2 December 2024

Artlyst: The Art Diary December 2024

My December Art Diary for Artlyst takes us to Washington DC, New York, London and Bangkok:

'An exhibition of prints by Bruce Onobrakpeya also spotlights Nigerian artists exploring faith and spirituality through the lens of African heritage and mythology. A rare opportunity to see Romare Bearden’s ‘Paris Blues/Jazz’ series of collages also takes us to Paris, New Orleans, and Harlem. ‘Es Devlin – Face to Face: 50 Encounters with Strangers’ creates awareness of the conflicts from which refugees seek sanctuary, while the fourth Bangkok Art Biennale draws inspiration from Mother Earth as a nurturer and giver of life across cultures. Finally, Alexander De Cadenet’s ‘World Domination Burgers’ satirises the excesses of conspicuous consumption while ‘Carved & Cast’ presents a compelling survey of sculpture through the ages.'

For more on Alexander de Cadenet, see my Artlyst interview here, plus my ArtWay Visual Meditation here and exhibition/conference posts herehere, and here.

Interviews -

Monthly diary articles -

Articles/Reviews -
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Neil Young - Hold Back The Tears.