Seen and Unseen: Genesis Tramaine: the painter whose faces catch the spirit

My latest article for Seen and Unseen is a profile of New York's expressionist devotional artist, 'Genesis Tramaine: the painter whose faces catch the spirit':

'Genesis Tramaine begins her presentation as part of the McDonald Agape Lecture in Theology and the Visual Arts 2025 by singing ‘Amen’, a gospel song popularised by The Impressions in the 1960s. Her presentation about her art is essentially an act of testimony, such as might be given in a Southern Baptist Church in the USA.

Tramaine is an expressionist devotional painter from the US who is deeply inspired by biblical texts and whose work is held in permanent collections, including the National Gallery of Art in Washington DC. The large expressionist heads she paints are not representational portraits but expressions of spiritual energies and forces within the person, often inspired by and showing biblical figures and saints, as well as church people, family and friends.'

For more on Genesis Tramaine see my Artlyst interview with her and my exhibition review for Church Times. For more on those contributing to the McDonald Agape Lecture in Theology and the Visual Arts 2025 see my interview with sculptor Emily Young.

My first article for Seen and Unseen was 'Life is more important than art' which reviews the themes of recent art exhibitions that tackle life’s big questions and the roles creators take.

My second article 'Corinne Bailey Rae’s energised and anguished creative journey' explores inspirations in Detroit, Leeds and Ethiopia for Corinne Bailey Rae’s latest album, Black Rainbows, which is an atlas of capacious faith.

My third article was an interview with musician and priest Rev Simpkins in which we discussed how music is an expression of humanity and his faith.

My fourth article was a guide to the Christmas season’s art, past and present. Traditionally at this time of year “great art comes tumbling through your letterbox” so, in this article, I explore the historic and contemporary art of Christmas.

My fifth article was 'Finding the human amid the wreckage of migration'. In this article I interviewed Shezad Dawood about his multimedia Leviathan exhibition at Salisbury Cathedral where personal objects recovered from ocean depths tell a story of modern and ancient migrations.

My sixth article was 'The visionary artists finding heaven down here' in which I explored a tradition of visionary artists whose works shed light on the material and spiritual worlds.

My seventh article was 'How the incomer’s eye sees identity' in which I explain how curating an exhibition for Ben Uri Online gave me the chance to highlight synergies between ancient texts and current issues.

My eighth article was 'Infernal rebellion and the questions it asks' in which I interview the author Nicholas Papadopulos about his book The Infernal Word: Notes from a Rebel Angel.

My ninth article was 'A day, night and dawn with Nick Cave’s lyrics' in which I review Adam Steiner’s Darker With The Dawn — Nick Cave’s Songs Of Love And Death and explore whether Steiner's rappel into Cave’s art helps us understand its purpose.

My 10th article was 'Theresa Lola's poetical hope' about the death-haunted yet lyrical, joyful and moving poet for a new generation.

My 11th article was 'How to look at our world: Aaron Rosen interview', exploring themes from Rosen's book 'What Would Jesus See: Ways of Looking at a Disorienting World'.

My 12th article was 'Blake, imagination and the insight of God', exploring a new exhibition - 'William Blake's Universe at the Fitzwilliam Museum - which focuses on seekers of spiritual regeneration and national revival.

My 13th article 'Matthew Krishanu: painting childhood' was an interview with Matthew Krishanu on his exhibition 'The Bough Breaks' at Camden Art Centre.

My 14th article was entitled 'Art makes life worth living' and explored why society, and churches, need the Arts.

My 15th article was entitled 'The collective effervescence of sport's congregation' and explored some of the ways in which sport and religion have been intimately entwined throughout history

My 16th article was entitled 'Paradise cottage: Milton reimagin’d' and reviewed the ways in which artist Richard Kenton Webb is conversing with the blind poet in his former home (Milton's Cottage, Chalfont St Giles).

My 17th article was entitled 'Controversial art: how can the critic love their neighbour?'. It makes suggestions of what to do when confronted with contentious culture.

My 18th article was an interview entitled 'Art, AI and apocalypse: Michael Takeo Magruder addresses our fears and questions'. In the interview the digital artist talks about the possibilities and challenges of artificial intelligence.

My 19th article was entitled 'Dark, sweet and subtle: recovered music orientates us'. In the article I highlight alt-folk music seeking inspiration from forgotten hymns.

My 20th article was entitled 'Revisiting Amazing Grace inspires new songs'. In the article I highlight folk musicians capturing both the barbaric and the beautiful in the hymn Amazing Grace and Christianity's entanglement with the transatlantic slave trade more generally.

My 21st article was entitled 'James MacMillan’s music of tranquility and discord'. In the article I noted that the composer’s music contends both the secular and sacred.

My 22nd article was a book review on Nobody's Empire by Stuart Murdoch. 'Nobody's Empire: A Novel is the fictionalised account of how ... Murdoch, lead singer of indie band Belle and Sebastian, transfigured his experience of Myalgic encephalomyelitis/chronic fatigue syndrome (ME) through faith and music.'

My 23rd article was entitled 'Rock ‘n’ roll’s long dance with religion'. The article explores how popular music conjures sacred space.

My 24th article was an interview with Alastair Gordon on the artist’s attention which explores why the overlooked and everyday capture the creative gaze.

My 25th article was about Stanley Spencer’s seen and unseen world and the artist’s child-like sense of wonder as he saw heaven everywhere.

My 26th article was entitled 'The biblical undercurrent that the Bob Dylan biopics missed' and in it I argue that the best of Dylan’s work is a contemporary Pilgrim, Dante or Rimbaud on a compassionate journey.

My 27th article was entitled 'Heading Home: a pilgrimage that breaks out beauty along the way' and focuses on a film called 'Heading Home' which explores how we can learn a new language together as we travel.

My 28th article was entitled 'Annie Caldwell: “My family is my band”' and showcased a force of nature voice that comes from the soul.

My 29th article was entitled 'Why sculpt the face of Christ?' and explored how, in Nic Fiddian Green’s work, we feel pain, strength, fear and wisdom.

My 30th article was entitled 'How Mumford and friends explore life's instability' and explored how Mumford and Sons, together with similar bands, commune on fallibility, fear, grace, and love.

My 31st article was entitled 'The late Pope Francis was right – Antoni Gaudi truly was God’s architect' and explored how sanctity can indeed be found amongst scaffolding, as Gaudi’s Barcelona beauties amply demonstrate.

My 32nd article was entitled 'This gallery refresh adds drama to the story of art' and explored how rehanging the Sainsbury Wing at the National Gallery revives the emotion of great art.

My 33rd article was an interview with Jonathan A. Anderson about the themes of his latest book 'The Invisibility of Religion in Contemporary Art'.

My 34th article was an interview with 'Emily Young: the sculptor listening as the still stones speak'.

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Jonathan McReynolds - God Is Good.

Seen and Unseen - Emily Young: the sculptor listening as the still stones speak

My latest article for Seen and Unseen is an interview with 'Emily Young: the sculptor listening as the still stones speak':

'Her most recent exhibition was entitled ‘Comparative Stillness’. This title was chosen because the way the faces and the bodies she carves ‘always come out, there’s peacefulness there, there’s stillness’. ‘If you sit in this stillness of the stone’, she says, ‘you can find a great joy and a great peace’. She has asked herself, ‘What is it that I’m doing when I’m carving a human head out of stone?’ Her answer is that she is ‘finding an essential core of being alive that has in it, stillness’. ‘It’s the stillness that I’m after’, she says, and ‘out of that stillness come good actions.’ As a result, she says, ‘what I’m completely dedicated to now is to show that we do have access to that stillness and it could be our saving grace’. Everyone, she thinks, ‘should have quiet, kind symbols of internality around them’.'

My first article for Seen and Unseen was 'Life is more important than art' which reviews the themes of recent art exhibitions that tackle life’s big questions and the roles creators take.

My second article 'Corinne Bailey Rae’s energised and anguished creative journey' explores inspirations in Detroit, Leeds and Ethiopia for Corinne Bailey Rae’s latest album, Black Rainbows, which is an atlas of capacious faith.

My third article was an interview with musician and priest Rev Simpkins in which we discussed how music is an expression of humanity and his faith.

My fourth article was a guide to the Christmas season’s art, past and present. Traditionally at this time of year “great art comes tumbling through your letterbox” so, in this article, I explore the historic and contemporary art of Christmas.

My fifth article was 'Finding the human amid the wreckage of migration'. In this article I interviewed Shezad Dawood about his multimedia Leviathan exhibition at Salisbury Cathedral where personal objects recovered from ocean depths tell a story of modern and ancient migrations.

My sixth article was 'The visionary artists finding heaven down here' in which I explored a tradition of visionary artists whose works shed light on the material and spiritual worlds.

My seventh article was 'How the incomer’s eye sees identity' in which I explain how curating an exhibition for Ben Uri Online gave me the chance to highlight synergies between ancient texts and current issues.

My eighth article was 'Infernal rebellion and the questions it asks' in which I interview the author Nicholas Papadopulos about his book The Infernal Word: Notes from a Rebel Angel.

My ninth article was 'A day, night and dawn with Nick Cave’s lyrics' in which I review Adam Steiner’s Darker With The Dawn — Nick Cave’s Songs Of Love And Death and explore whether Steiner's rappel into Cave’s art helps us understand its purpose.

My 10th article was 'Theresa Lola's poetical hope' about the death-haunted yet lyrical, joyful and moving poet for a new generation.

My 11th article was 'How to look at our world: Aaron Rosen interview', exploring themes from Rosen's book 'What Would Jesus See: Ways of Looking at a Disorienting World'.

My 12th article was 'Blake, imagination and the insight of God', exploring a new exhibition - 'William Blake's Universe at the Fitzwilliam Museum - which focuses on seekers of spiritual regeneration and national revival.

My 13th article 'Matthew Krishanu: painting childhood' was an interview with Matthew Krishanu on his exhibition 'The Bough Breaks' at Camden Art Centre.

My 14th article was entitled 'Art makes life worth living' and explored why society, and churches, need the Arts.

My 15th article was entitled 'The collective effervescence of sport's congregation' and explored some of the ways in which sport and religion have been intimately entwined throughout history

My 16th article was entitled 'Paradise cottage: Milton reimagin’d' and reviewed the ways in which artist Richard Kenton Webb is conversing with the blind poet in his former home (Milton's Cottage, Chalfont St Giles).

My 17th article was entitled 'Controversial art: how can the critic love their neighbour?'. It makes suggestions of what to do when confronted with contentious culture.

My 18th article was an interview entitled 'Art, AI and apocalypse: Michael Takeo Magruder addresses our fears and questions'. In the interview the digital artist talks about the possibilities and challenges of artificial intelligence.

My 19th article was entitled 'Dark, sweet and subtle: recovered music orientates us'. In the article I highlight alt-folk music seeking inspiration from forgotten hymns.

My 20th article was entitled 'Revisiting Amazing Grace inspires new songs'. In the article I highlight folk musicians capturing both the barbaric and the beautiful in the hymn Amazing Grace and Christianity's entanglement with the transatlantic slave trade more generally.

My 21st article was entitled 'James MacMillan’s music of tranquility and discord'. In the article I noted that the composer’s music contends both the secular and sacred.

My 22nd article was a book review on Nobody's Empire by Stuart Murdoch. 'Nobody's Empire: A Novel is the fictionalised account of how ... Murdoch, lead singer of indie band Belle and Sebastian, transfigured his experience of Myalgic encephalomyelitis/chronic fatigue syndrome (ME) through faith and music.'

My 23rd article was entitled 'Rock ‘n’ roll’s long dance with religion'. The article explores how popular music conjures sacred space.

My 24th article was an interview with Alastair Gordon on the artist’s attention which explores why the overlooked and everyday capture the creative gaze.

My 25th article was about Stanley Spencer’s seen and unseen world and the artist’s child-like sense of wonder as he saw heaven everywhere.

My 26th article was entitled 'The biblical undercurrent that the Bob Dylan biopics missed' and in it I argue that the best of Dylan’s work is a contemporary Pilgrim, Dante or Rimbaud on a compassionate journey.

My 27th article was entitled 'Heading Home: a pilgrimage that breaks out beauty along the way' and focuses on a film called 'Heading Home' which explores how we can learn a new language together as we travel.

My 28th article was entitled 'Annie Caldwell: “My family is my band”' and showcased a force of nature voice that comes from the soul.

My 29th article was entitled 'Why sculpt the face of Christ?' and explored how, in Nic Fiddian Green’s work, we feel pain, strength, fear and wisdom.

My 30th article was entitled 'How Mumford and friends explore life's instability' and explored how Mumford and Sons, together with similar bands, commune on fallibility, fear, grace, and love.

My 31st article was entitled 'The late Pope Francis was right – Antoni Gaudi truly was God’s architect' and explored how sanctity can indeed be found amongst scaffolding, as Gaudi’s Barcelona beauties amply demonstrate.

My 32nd article was entitled 'This gallery refresh adds drama to the story of art' and explored how rehanging the Sainsbury Wing at the National Gallery revives the emotion of great art.

My 33rd article was an interview with Jonathan A. Anderson about the themes of his latest book 'The Invisibility of Religion in Contemporary Art':

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Jeremy Enigk - Amazing Worlds.

International Times: Renewed Visibility

My latest book review to be published by International Times is on 'The Invisibility of Religion in Contemporary Art' by Jonathan A. Anderson:

'His book is a game-changer, not just because he comprehensively documents the gap between artists’ work and the limiting ways in which they have been critiqued, understood and described, but also because he summarises the more recent changing response from critics, curators and historians to artists engaging with religion and sets out effective frameworks for considering such work going forward.'

For more on Jonathan A. Anderson read my interview with him for Artlyst here.

My earlier pieces for IT are an interview with the poet Chris Emery, an interview with Jago Cooper, Director of the the Sainsbury Centre for Visual Arts, a profile of singer-songwriter Bill Fay, plus reviews of: 'Breaking Lines' at the Estorick Collection of Modern Italian Art, albums by Deacon Blue, Mumford and Sons, and Andrew Rumsey, also by Joy Oladokun and Michael Kiwanaku; 'Nolan's Africa' by Andrew Turley; Mavis Staples in concert at Union Chapel; T Bone Burnett's 'The Other Side' and Peter Case live in Leytonstone; Helaine Blumenfeld's 'Together' exhibition, 'What Is and Might Be and then Otherwise' by David Miller; 'Giacometti in Paris' by Michael Peppiatt, the first Pissabed Prophet album - 'Zany in parts, moving in others, you’ll be hard pressed to find a more unusual, inspired & profound album this year. ‘Pissabed Prophet’ will thrill, intrigue, amuse & inspire' - and 'Religion and Contemporary Art: A Curious Accord', a book which derives from a 2017 symposium organised by the Association of Scholars of Christianity in the History of Art.

Several of my short stories have been published by IT including three about Nicola Ravenscroft's EarthAngel sculptures (then called mudcubs), which we exhibited at St Andrew's Wickford in 2022. The first story in the series is 'The Mudcubs and the O Zone holes'. The second is 'The Mudcubs and the Clean-Up King', and the third is 'The mudcubs and the Wall'. My other short stories to have been published by International Times are 'The Black Rain', a story about the impact of violence in our media, 'The New Dark Ages', a story about principles and understandings that are gradually fading away from our modern societies, and 'The curious glasses', a story based on the butterfly effect.

IT have also published several of my poems, including 'The ABC of creativity', which covers attention, beginning and creation, and 'The Edge of Chaos', a state of existence poem. Also published have been three poems from my 'Five Trios' series. 'Barking' is about St Margaret’s Barking and Barking Abbey and draws on my time as a curate at St Margaret's. 'Bradwell' is a celebration of the history of the Chapel of St Peter-on-the-Wall, the Othona Community, and of pilgrimage to those places. Broomfield in Essex became a village of artists following the arrival of Revd John Rutherford in 1930. His daughter, the artist Rosemary Rutherford, also moved with them and made the vicarage a base for her artwork including paintings and stained glass. Then, Gwynneth Holt and Thomas Bayliss Huxley-Jones moved to Broomfield in 1949 where they shared a large studio in their garden and both achieved high personal success. 'Broomfield' reviews their stories, work, legacy and motivations.

To read my poems published by Stride, click here, here, here, here, here, and here. My poems published in Amethyst Review are: 'Runwell', 'Are/Are Not', 'Attend, attend' and 'Maritain, Green, Beckett and Anderson in conversation down through the ages'.

I am among those whose poetry has been included in Thin Places & Sacred Spaces, a recent anthology from Amethyst Press. I also had a poem included in All Shall Be Well: Poems for Julian of Norwich, the first Amethyst Press anthology of new poems.

'Five Trios' is a series of poems on thin places and sacred spaces in the Diocese of Chelmsford. The five poems in the series are:

• 'Barking';
• 'Bradwell';
• 'Broomfield';
• 'Pleshey'; and
• 'Runwell'.

These poems have been published by Amethyst Review and International Times.

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Rev Simpkins - Advent.

Artlyst: The Art Diary June 2025

My June Art Diary for Artlyst has been published today. I begin with two important recently published books about religion and contemporary art. Next, I highlight several exhibitions and artists whose work connects with the themes explored in these books. These include Anselm Kiefer, Vincent van Gogh and Andy Warhol, alongside plans for Manifesta 16 Ruhr. I conclude with group shows that engage with contemporary issues and explore, as the title of one exhibition puts it, ‘The Shape of Now’. These include two fascinating exhibitions which are local to me, in Essex, at Focal Point Gallery and Beecroft Art Gallery:

"‘The Invisibility of Religion in Contemporary Art’ by Jonathan A. Anderson offers a critical guide for rereading and rethinking religion in the histories of modern and contemporary art. Since the turn of the twenty-first century, there has been a marked increase in attention to religion and spirituality in contemporary art among artists and scholars alike. Still, the resulting scholarship tends to be dispersed, disjointed, and underdeveloped, lacking a sustained discourse that holds up as both scholarship of art and scholarship of religion. ‘The Invisibility of Religion in Contemporary Art’ is both a critical study of this situation and an adjustment to it, offering a much-needed field guide to the current discourse of contemporary art and religion."

For more on Jonathan A. Anderson see here, Andy Warhol see here, and Maurizio Galia ('The Shape of Now') see here.

My other pieces for Artlyst are:

Interviews -

• Michael Petry Discusses In League With Devils with Revd Jonathan Evens
• Sean Scully A Humility Towards Nature
• Winslow Homer: American Passage An Interview With Biographer Bill Cross
• Grayson Perry Tapestries On Show At Salisbury Cathedral
• Sidney Nolan’s Africa: Interview With Andrew Turley
• Ilona Bossanyi: Tate’s Ervin Bossanyi Stained Glass Window Mothballed After 2011 Redevelopment
• Louis Carreon: Sampling Art History
• Modus Operandi - What Makes Successful Public Art: Vivien Lovell Interviewed
• Genesis Tramaine: A Queer Devotional Painter
• Lakwena Maciver: Review-Interview Hastings Contemporary
• Nicola Ravenscroft - Sculpture With A Peaceful Stillness
• Artist Hannah Rose Thomas – Tears of Gold – Interview
• Marcus Lyon: Human Atlas Explorations
• Elizabeth Kwant Interview
• Helaine Blumenfeld: Undulating Structures
• National Gallery Explores ‘Sin’ In New Exhibition – Interview Dr Joost Joustra Curator
• Betty Spackman: Posthumanism Debates
• Christopher Clack: Connecting The Material And Immaterial
• Peter Howson Artlyst Interview
• Marleen Hengelaar-Rookmaaker On The Legacy Of ArtWay
• Alastair Gordon A Testament To His Faith
• Katrina Moss Chaiya Art Awards Interview: Where is God in our 21st century world?
• Apocalypse Now: Michael Takeo Magruder Interviewed
• Jonathan Anderson: Religious Inspirations Behind Modernism
• Caravan – An Interview With Rev Paul Gordon Chandler On Arts Peacebuilding
• Art Awakening Humanity Alexander de Cadenet Interviewed
• Michael Pendry New Installation Lights Up St Martin In The Fields
• Mark Dean Projects Stations of the Cross Videos On Henry Moore Altar

Monthly diary articles -

• The May Art Diary 2025
• The April Art Diary 2025
• The Art Diary March 2025
• The Art Diary February 2025
• The Art Diary January 2025
• The Art Diary December 2024
• The Art Diary November 2024
• The Art Diary October 2024
• The Art Diary September 2024
• The Art Diary August 2024
• The Art Diary July 2024
• The Art Diary June 2024
• The Art Diary May 2024
• The Art Diary April 2024
• The Art Diary March 2024
• The Art Diary February 2024
• The Art Diary January 2024
• The Art Diary December 2023
• The Art Diary November 2023
• The Art Diary October 2023
• The Art Diary September 2023
• Jeremy Deller In Rennes And Brittany Post-Impressionism – August Diary
• The Art Diary July 2023
• The Art Diary June 2023
• The Art Diary May 2023
• The Art Diary April 2023
• The Art Diary March 2023
• The Art Diary February 2023
• Surveying New Exhibitions With A Spiritual Twist January 2023 Art Diary
• Christmas: The Art Of Faith December 2022 Diary
• Soulages And Strange Clay November 2022 Art Diary
• Alexander de Cadenet And Michael Forbes October 2022 Diary
• Spiritual Joseph Beuys Plus More: September Diary
• Holiday Snaps – End Of Summer Art Diary
• Art Search: August 2022 Diary
• Re-imagining Essex July 2022 Diary
• Art Illuminating spirituality June 2022 Diary
• Venice To London May 2022 Diary
• Jacob Epstein, Louis Carreon, Titus Kaphar, Betty Spackman – April 2022 Diary
• Audrey Flack Carlo Crivelli And Robert Indiana – March Diary
• My Art Diary And Other Thoughts February 2022
• And On An Art Note: End Of Year Diary 2021
• International Autumn Art Exhibition Reviews
• And On An Art Note: End Of Year Diary 2021

Articles/Reviews -

• Arpita Singh Social Observations Serpentine North
• Siena: The Creative Achievement Of Christendom
• An Uncommon Thread Hauser & Wirth Somerset
• Michelangelo Leonardo Raphael At The Royal Academy Review
• Modern Art Oxford Reopens After £2million Redesign
• Leonora Carrington Still Relevant Firstsite Colchester
• Ken Currie, Kehinde Wiley, Susie Hamilton Three Exhibitions About Communities
• The Victorian Radicals And Other Related Exhibitions
• Cedric Morris And Arthur Lett-Haines Gainsborough House
• Lunar Lullabies, David Lock and Concrete Dreams Three Shows To See At Firstsite
• Tate Expressionists Exhibition Reveals Spirituality and Past Gender Disparity
• The Last Caravaggio National Gallery
• Issam Kourbaj Kettle’s Yard And Heong Gallery Cambridge
• Li Yuan-chia And Friends Kettles Yard Cambridge
• Antony Gormley Explores Self Awareness White Cube Bermondsey
• Holbein: Politics Religion And Draughtsmanship – The Queen’s Gallery
• R B Kitaj And Philip Guston: Figurative Painting Celebrated
• Paula Rego And Lord Harries Respond To Art And Religion
• A World In Common: Contemporary African Photography Tate Modern
• Chris Ofili Exploring Sin At Victoria Miro
• Ai Weiwei - The Artist of Resistance - The Design Museum
• Saint Francis of Assisi A Timely Exhibition - National Gallery
• Why Critics Have A Problem With The Pre-Raphaelites?
• Religion and Spirituality in Post Impressionism National Gallery
• Black Artists From The American South Royal Academy
• Donatello: The Divine Fused With The Human V&A
• Lucian Freud And His Circle Surveyed In Two London Exhibitions
• A Question Of Clay: Strange Clay – Hayward Gallery
• William Kentridge: Merging Politics With Aesthetics – RA
• Winslow Homer: Beyond The Sea – National Gallery
• Hidden Depths: The Woman in the Window – Dulwich Picture Gallery
• Heavenly Visions: Churches As Spaces For Contemporary Art
• In The Black Fantastic London’s Best Summer Exhibition
• Hew Locke And The Christian Roots Of Carnival – Tate BritainLes Lalanne, Schütte And Gursky London Spring Exhibition Highlights
• Sensuous Sickert and Philpot Two Major UK Solo Exhibitions
• Raphael The Human And Divine – National Gallery
• Damien Hirst The Visceral Reality Of Death
• Ali Cherri: Artist in Residence National Gallery
• Surrealism Outside The Usual Story – Tate Modern
• Marcus Lyon Creates Fields of Vision At St Martin-in-the-Fields London
• Van Gogh Self Portraits The Infinite And The Ordinary
• Marvellous Icons: The London Jesuit Centre
• Albrecht Dürer Travels Of A Renaissance Artist – National Gallery London
• Diasporan Identities: Life Between Islands Caribbean British Art – Tate Britain
• Isamu Noguchi: Socially Engaged Art – Barbican Centre
• Pablo Bronstein: A This-World Vision Of Hell
• Bosco Sodi: In The Beginning Of Wisdom
• George Condo Lockdown Works Hauser & Wirth
• Theaster Gates Clay As A Profound Metaphor
• Mark Rothko: Mesmerising And Intimate Works On Paper
• Roger Cecil: A Once In A Generation Welsh Painter
• Tino Sehgal: Location, Nature And Pandemic – Blenheim Palace
• Michael Armitage And The Power Of Art – Royal Academy
• Marie Raymond And Post-War Avant Garde Painting In Paris
• Rachel Kneebone: A Complex Tableau Of Organic And Geometric Forms
• Rodin: Suffering And Conflict – Tate Modern
• Barbara Hepworth: Symbols Of Art & Life – Hepworth Wakefield
• 20th Century Women Artists Challenging Conventions In Britain
• Chaiya Art Awards 2021 Gallery OXO
• Marc Chagall’s Exquisite Stained Glass Window Commissions
• George Gittoes Equal parts artist and warrior
• Keith Haring: Personal Spiritual Imagery
• Sean Scully: Philosophical Poetic Pastoral The 12 / Dark Windows
• Arthur Jafa: The Art Of Cutting And Pasting
• Blackpentecostal Breath: Spirit-Led Movement Jumps From Music To Visual Art
• Made in USA Ed Ruscha An American Perspective
• Robert Smithson: The Archetypal Nature Of Things
• If Jesus Is A Man Of Colour Why Did We Make Him Aryan?
• Cosmic Patches And Quilts Five Exhibitions
• Everyday Heroes: Southbank Exhibition Celebrates Low-paid Key Workers
• Entwining Spiritualism And Art – Three Shows
• Of Church And The Visual Arts
• Has The Word Master Reached Its Sell-By Date?
• The People Behind Community Is Kindness Billboard Campaign
• André Daughtry: Art, Rebellion And Racial Justice
• Salisbury Cathedral 800 Years Of Art And Spirit
• Home Alone Together Twenty Five Artists
• Botanical Mind Online: Art, Mysticism and the Cosmic Tree
• Salvador Dalí The Enigma of Faith
• Art And Faith A Time For Seeing
• Andy Warhol: Catholicism His Work, Faith And Legacy
• Kiki Smith: Embodied Art
• Art and Christianity Awards A Positive New Millennium Legacy
• Arnulf Rainer: 90th Birthday Exhibition Celebrated At Albertina Museum
• A Belonging Project And Exiles Loss and Displacement
• Robert Polidori: Fra Angelico Opus Operantis
• Art, Faith, Church Patronage and Modernity
• Contemplating the Spiritual in Contemporary Art
• Mat Collishaw Challenges Faith Perspectives With Ushaw Installation
• Waterloo Festival Launches At St. John’s Waterloo
• John Bellany Alan Davie Spiritual Joy and Magic
• RIFT Unites 17 Art and Science MA Graduates At Central St Martins
• Visionary Cities: Michael Takeo Magruder – British Library
• Van Gogh’s Religious Journey Around London
• William Congdon Holy Sites And The Kettle’s Yard Connection
• Mark Dean Premieres Pastiche Mass At Banqueting Hall Chelsea College of Arts
• John Kirby: The Torment
• Underlying The Civilised Facade
• Curating Spiritual Sensibilities In Changing Times
• Homeless Highlighted: New Beau Exhibition At St Martin-in-the-Fields
• Ken Currie: Protest Defeat And Victory
• Bosco Sodi: A Moment Of Genesis
• Bill Viola And The Art Of Contemplation
• Art In Churches 2018: Spiritual Combinations Explored
• Sister Wendy Beckett – A Reminiscence
• Guido Guidi: Per Strada Flowers Gallery London
• Peter Howson: The play is over – Flowers Gallery
• Camille Henrot: Scientific History And Creation Story Mash Up
• Nicola Green Explores Recent And Contemporary Religious Leaders – St Martin-in-the-Fields
• Art And The Consequences Of War Explored In Two Exhibitions
• Helaine Blumenfeld Translating Her Vision
• Sam Ivin: Physically Scratched Portraits Of Asylum Seekers Exhibited
• Sacred Noise: Explores Religion, Faith And Divinity
• Bill Viola: Quiet Contemplative Video Installation St Cuthbert’s Church Edinburgh
• The ground-breaking work of Sister Corita Kent
• Picasso To Souza: The Crucifixion Imagery Rarely Exhibited
• Michael Takeo Magruder: De / coding the Apocalypse – Panacea Museum
• Giorgio Griffa: The Golden Ratio And Inexplicable Knowledge
• Arabella Dorman Unveils New Installation At St James Church Piccadilly
• Can Art Transform Society?
• Art Awakening Humanity Conference Report
• Central St Martins in the Fields Design Then And Now
• The Sacramental And Liturgical Nature Of Conceptual Art
• Polish Art In Britain: Centenary Marked At London’s Ben Uri Gallery
• Refugee Artists: Learning from The Lives Of Others
• The Religious Impulses Of Robert Rauschenberg
• The Christian Science Connection Within The British Modern Art Movement
• Artists Rebranding The Christmas Tree Tradition
• Art Impacted - A Radical Response To Radicalisation
• The Art of St Martin-in-the-Fields
• Was Caravaggio A Good Christian?
  

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Leonard Cohen - Amen.

Hope: The light of the promised future that is to come

Here's the reflection that I shared during Reflective Evening Prayer this evening at St Mary's Runwell. 
The readings were Lamentations 3:19-33 and 'Hope' is the thing with feathers by Emily Dickinson.

Disasters are frequent occurrences, “some natural, many more due to man’s ham-fisted neglect of the planet or our inability to get by without recourse to violence.” “The result is always the need for a new start, and how we respond and rebuild colours an uncertain future more than ever. Yet, for all the carnage and chaos that catastrophes bring, an odd truth is apparent: disasters do give us the chance to shape things differently.”

As a result, as Terry Eagleton writes in Hope without Optimism, “the most authentic hope is whatever can be salvaged, stripped of guarantees from a general dissolution.” It is whatever survives a general ruin. This is where we find the writer of Lamentations; bowed down with the reality of exile, yet trusting that it is in the nature of God to bring a new beginning from this disastrous affliction which is “wormwood and gall” to him. Similarly, Emily Dickinson claims that, hope is heard most sweetly in the Gale, “the chillest land” and “on the strangest Sea”.

Hope, Eagleton writes, “is to be found in the unfinished nature of the actual, discernible as a hollow at its heart.” “Potentiality is what articulates the present with the future, and thus lays down the material infrastructure of hope.” Hope is about a vision for a future that is different from the present; one which therefore requires imagination and vision. For Christians that vision is of the kingdom of God; which has begun to be realised but is still to come in its full reality.

As a result, in Theology of Hope Jürgen Moltmann argues that “Those who hope in Christ can no longer put up with reality as it is, but begin to suffer under it, to contradict it. Peace with God means conflict with the world, for the goad of the promised future stabs inexorably into the flesh of every unfulfilled present. If we had before our eyes only what we see, then we should cheerfully or reluctantly reconcile ourselves with things as they happen to be. That we do not reconcile ourselves, that there is no pleasant harmony between us and reality, is due to our unquenchable hope. This hope keeps man unreconciled, until the great day of the fulfilment of all the promises of God.

The Church, then, is intended to be “the source of continual new impulses towards the realization of righteousness, freedom and humanity here in the light of the promised future that is to come.” Our hope should “provide inexhaustible resources for the creative, inventive imagination of love.” It should constantly provoke and produce thinking of an anticipatory kind in love to humanity and the world, “in order to give shape to the newly dawning possibilities in the light of the promised future, in order as far as possible to create here the best that is possible, because what is promised is within the bounds of possibility.” “Thus it will constantly arouse the ‘passion for the possible’, inventiveness and elasticity in self-transformation, in breaking with the old and coming to terms with the new.” The Christian hope should always have “a revolutionary effect in this sense on the intellectual history of the society affected by it.”

“Wherever that happens, Christianity embraces its true nature and becomes a witness of the future of Christ.”

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Van Morrison - These Are The Days.

Church Times - Art review: Breaking Lines at the Estorick Collection of Modern Italian Art, London

My latest exhibition review for Church Times is on Breaking Lines at the Estorick Collection of Modern Italian Art:

'Houédard wrote that “concrete fractures linguistics, atomises words into incoherence, constricting language to jewel-like semantic areas where poet & reader meet in maximum communication with minimum words”. This aim of his work was synonymous with his theological emphasis on becoming. In a sermon, he taught that “all we who live & grow & are conscious can say is ‘I become, I change, I grow.’”'

For more on Dom Sylvester Houédard see here and 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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Sister Irene O'Connor - Fire Of God's Love.

A blessing on the earth

Here's the reflection that I shared earlier today as part of the Midday Meditation Services for Holy Week at Billericay Methodist Church, Western Road. These are reflective 45 minute services throughout Holy week to help with reflection on the life, ministry, and death of Jesus as we look towards a promised resurrection, with carefully chosen choral music: 

The Annual Lent Lecture given here, at Western Road, earlier in Lent was entitled: ‘The Bible and People of Other Faiths: A Personal and Theological Journey’ and was given by Dr Elizabeth Harris, honorary Senior Research Fellow within the Edward Cadbury Centre for the Public Understanding of Religion, University of Birmingham, UK. Elizabeth gave helpful and fascinating insights into understandings of people of other faiths within the Bible and our readings today provide an opportunity to revisit that same theme and its relevance to the events of Holy Week.

‘It is too light a thing that you should be my servant
to raise up the tribes of Jacob
and to restore the survivors of Israel;
I will give you as a light to the nations,
that my salvation may reach to the end of the earth.’ (Isaiah 49: 6)

These are words originally spoken to the People of Israel, as the servant of God, but then understood by the Church as applying to Jesus, who fulfilled the task originally given by God to Israel. Although the Israelites were God’s chosen people, they were not to keep God to themselves. God’s intent in making Israel his chosen people was that they should be a light to the nations so all people would be God’s people. When Jesus speaks of himself as the light of the world, he is saying that he is acting as Israel, as God’s servant, by bring the light of life to all people everywhere.

We see Jesus acting on this basis in our Gospel reading too:

among those who went up to worship at the festival were some Greeks. They … said … ‘Sir, we wish to see Jesus.’ … Jesus answered them, ‘The hour has come for the Son of Man to be glorified. (John 12: 20-22)

It is when people of other faiths and other cultures come and ask to see Jesus that Jesus knows it is time for him to be glorified through the crucifixion and resurrection. It is for this reason that, once filled with Jesus’ Spirit, the apostles, including St Paul, take the message of Jesus, in word and act, to all the nations of the then known world. As St Paul writes in his first letter to the Corinthians:

we proclaim Christ crucified, a stumbling-block to Jews and foolishness to Gentiles, but to those who are called, both Jews and Greeks, Christ the power of God and the wisdom of God. (1 Corinthians 1: 23 & 24)

Although there is considerable debate in the early Church about the Gospel being preached among the Gentiles, it becomes increasingly clear that the love of Jesus cannot be contained solely within the Jewish church and must be shared and spread more widely among the Gentile peoples too.

The Old Testament scholar Walter Brueggemann has helpfully spoken of two strands of theology to be found in the Old Testament; a core testimony and a counter testimony. The core testimony is supportive of the institutions of the day, whether the Judges or the Kings, and sees Israel as a beacon of light in an embattled world surrounded by hostile, unbelieving nations. The counter testimony is in large part the voice of those who do not have power – the Israelites, themselves, when slaves or in exile, those who are oppressed by the wealthy and powerful, those who are foreigners and migrants, and those who are people of other nations and other faiths. When Jesus enters our world as one of us, he does so as someone who is part of the counter testimony and through him the counter testimony is seen to be the testimony which embodies the nature of God most fully.

As a testimony which is counter to the testimony that claims God for the Israelites alone, the counter testimony is an inclusive testimony. In relation to people of other faiths, this means that the counter testimony sees all people as God’s people. We see this specifically and surprisingly expressed by a number of the prophets.

In Amos 9.7-8, the prophet says:

“Are not you Israelites
the same to me as the Cushites?”
declares the Lord.
“Did I not bring Israel up from Egypt,
the Philistines from Caphtor
and the Arameans from Kir?

Here, there is no mention of the Israelites as God’s special people, instead all people are God’s people and it is noted that the Philistines and Arameans had their own Exoduses, as did the People of Israel when they were freed from slavery in Egypt. Later in the same chapter Amos speaks of all the nations that bear God’s name, not just one (Amos 9. 12).

Malachi prophesies of those who will see God’s plans with their own eyes and say, ‘Great is the Lord—even beyond the borders of Israel!’ (Malachi 1. 11) Isaiah gives the greatest and clearest vision of a harmonious kingdom embracing all nations where there is peace between all peoples and all creatures. In Isaiah 19. 23 -25, we read of this vision specifically in relation to Assyria, Egypt and Israel:

In that day there will be a highway from Egypt to Assyria. The Assyrians will go to Egypt and the Egyptians to Assyria. The Egyptians and Assyrians will worship together. In that day Israel will be the third, along with Egypt and Assyria, a blessing on the earth. The Lord Almighty will bless them, saying, “Blessed be Egypt my people, Assyria my handiwork, and Israel my inheritance.”

Similarly, Jesus says that: “I have other sheep that do not belong to this fold. I must bring them also, and they will listen to my voice. So, there will be one flock, one shepherd.” (John 10. 16). In his teaching, he specifically teaches, through the Parable of the Good Samaritan (who is a person of another faith), that we should receive from our neighbours who follow other faiths (Luke 10. 25-37).

That is what we see St Paul doing when he preaches at the Areopagus in Athens. There, he specifically visits the range of worship places in Athens, compliments the people on their faith, begins his sermon with reference to one of the altars and quotes from their poets (Acts 17. 16-34).

In a report called Embassy, Hospitality & Dialogue prepared by Bishop Michael Nazir-Ali for the 1998 Lambeth Conference, Bishop Nazir-Ali takes us across similar ground. He notes that Amos declares that God has a purpose for and acts within the history of the various nations, both far and near and that the language of the Exodus from Egypt is used to describe God's "saving plan" for these peoples (Amos 9:7). Also, that Malachi speaks of the ways in which God is recognised and worshipped, however inadequately, among the nations. In some cases, in ways that are worthier than the worship of Israel itself (Malachi 1:11).

In both Isaiah 19 and in the so-called Apocalypse of Isaiah (Chapters 24-27) there is a reference to a blessed community of nations. God's blessing no longer applies solely to Israel, the other nations are also blessed. Israel is the primary recipient of this blessing and also God's instrument in extending it to others, but there is also anticipation of a future which belongs to God.

The universalism of the New Testament arises out of the response to the Gospel by the poor, the marginalised and the foreigners. We are told that the common people (ochlos) heard Jesus gladly (Mark 12:37). He keeps company with the sinners and outcasts of society (Matthew 9:10-13). Foreigners respond positively to the words and works of Jesus (Matthew 8:1-13, Mark 7:24-30, Luke 17:11-19, John 12:20-21). This is confirmed in the experience of the Early Church which is alerted to its world-wide mission by the response of those either on the margins of the synagogue or outside it altogether (Acts 13:44-48).

Jesus’ encounters with Gentiles were encounters with people of other faiths and by studying these encounters we can explore Jesus’ approach to those of other faiths. Jesus crossed cultural and religious boundaries in order to speak with those such as the Samaritan woman. In Jesus’ parable of The Good Samaritan, it is the person from another faith (the Samaritan) who is a good neighbour to the person from God’s chosen people.

Paul had a multi-cultural upbringing. He was born and grew up in Tarsus in Cicilia (Acts 21: 39), a city noted for its Stoic philosophers. From other sources it seems likely that Paul’s parents were carried off as prisoners of war from the Judean town of Gischala to Tarsus. Presumably enslaved to a Roman, they were freed and granted Roman citizenship which was then also passed to Paul. In Tarsus Paul would probably have had an education in Greek culture before going to Jerusalem at about the age of 12 to study under the famous rabbi Gamaliel (Acts 22: 3). In his ministry, Paul visited the worship places of other faiths (Acts 17: 23), quoted from the writings of other faiths (Acts 17: 28; 1 Corinthians 15:33; Titus 1:12), and used rhetorical approaches learnt from Greek oratory.

Both Scripture and our experience provide criteria that God is working in the cultures and histories of all people. In different ways, people respond to this divine impulse and the Bible, as the inspired record of God's saving acts, provides us with a means of discerning how God has been working in the history, the culture and the spirituality of a particular people. Awareness of the divine need not be confined to the structures of institutional religion. Indeed, it may not be found there at all! It can be a very private affair and sometimes it may be found in counter-religious movements which set out to affirm human dignity and equality and which challenge oppressive social institutions.

As was the case when Elizabeth Harris spoke to us, this review of Biblical passages that relate to relationships with those of other faiths seeks to show that there are a range of possible ways to understand and relate to our neighbours of other faiths. In relation to Holy Week and Easter, we are reminded that Jesus’s purpose in going through the cross to resurrection, was with all peoples of all faiths in mind and that his vision was that of the peaceable kingdom in which all peoples live together in peace with one another, with God and with creation. However we understand our relationship with those of other faiths, may we make that our prayer, now and always:

God of unity, whose Son said, I have other sheep that do not belong to this fold. I must bring them also, and they will listen to my voice. So, there will be one flock, one shepherd. You love our human family and every work of your hands: As children of Abraham, Jews, Christians and Muslims, together with other believers and all persons of good will, we thank you for having given us Abraham, a distinguished son of this noble and beloved country, to be our common father in faith. We ask you, the God of our father Abraham and our God, to grant us a strong faith, a faith that abounds in good works, a faith that opens our hearts to you and to all our brothers and sisters; and a boundless hope capable of discerning in every situation your fidelity to your promises. Make each of us a witness of your loving care for all, particularly refugees and the displaced, widows and orphans, the poor and the infirm. Open our hearts to mutual forgiveness and in this way make us instruments of reconciliation, builders of a more just and fraternal society. Lord, in your mercy, hear our prayer.

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Leontyne Price - The Crucifixion.