International Times: Letting go of the hatred that poisons our world

My latest review for International Times is on Joseph Arthur's recent gig in London:

'Highlights from a stellar set included ‘No Weapon’, based on the freedom that is found through forgiveness – ‘faith is hard but the only solution in a world full of spiritual pollution’; ‘Nobody’s War’ – ‘Nobody here wants your war’ and ‘More money, more death, more greed, makes the children bleed’; as well as the raucous singing of a Ho’oponopono mantra together with the crowd during the encore – ‘I love you, I’m sorry, Please forgive me, And thank you’.'

For more on Joseph Arthur see here.

My earlier pieces for IT are: an interview with the artist Alexander de Cadenet; an interview with artist, poet, priest Spencer Reece, 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: Threads of LIfe and Heart to Heart, U2's 'Days of Ash', Mumford and Sons' 'Prizefighter' and Moby's 'Future Quiet'; 'Collected Poems' by Kevin Crossley-Holland; 'Lux' by Rosalía; 'Springsteen: Deliver Me from Nowhere'; 'Great Art Explained' by James Payne; 'Down River: In Search of David Ackles' by Mark Brend; 'Headwater' by Rev Simpkins; 'The Invisibility of Religion in Contemporary Art' by Jonathan A. Anderson; '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; 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.

-------------------------------------------------------------------------------------------------------------

Joseph Arthur - In The Sun.

Seen and Unseen: Can we stop killing each other?

My latest article for Seen and Unseen based on the exhibition series 'Can We Stop Killing Each Other?' at the Sainsbury Centre. In it I explore how art, theology, and moral imagination confront our oldest instinct:

'What more important question can there be for humanity, Jago Cooper, Executive Director of the Sainsbury Centre, asks than ‘Can we stop killing each other?’ The Sainsbury Centre’s radical exhibition programme explores the big issues in contemporary society (see my article ‘Life Is more important than art’) so has rapidly arrived at the point where it is exploring what has wrong with the world when killing occurs and how can we put it right.

Cooper sets out the ground that this series of exhibitions seeks to cover: ‘From interpersonal violence to state level conflict, killing has spread its devastating impact throughout all human cultures across the centuries. Why does this violence occur? And can it be better prevented at a time when increased societal pressures of population growth, resource scarcity, human migration and rapid environmental change make the risk of conflict higher? Every day we read about horrifying acts playing out locally and internationally, but what is the answer to stopping them?’'

For more on this exhibition series see here for my Artlyst review and on the Sainsbury Centre's radical exhibition programme see here. For my International Times interview with Jago Cooper see here.

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'.

My 35th article was a profile of New York's expressionist devotional artist, 'Genesis Tramaine: the painter whose faces catch the spirit'.

My 36th article was a concert review of Natalie Bergman at Union Chapel - a soul-soaked set turned personal tragedy into communal celebration.

-------------------------------------------------------------------------------------------------------

Mars: Thaxted and Chelmsford Cathedral

Today began with a DAC visit to Thaxted where Gustav Holst wrote much of 'The Planets' Suite and ended at Chelmsford Cathedral beneath Luke Jerram's Mars: War & Peace installation, a reminder of 'Mars, Bringer of War' from 'The Planets' Suite. Beneath the Mars installation, Francis Spufford gave a lecture entitled 'War (What Is It Good For?)'.

Gustav Holst first visited Thaxted in 1913 when on a walking holiday in north-west Essex. He decided he must return. The next year he and his wife rented a cottage in Monk Street, a small hamlet south of Thaxted. It was here that he composed much of his suite “The Planets.”

Conrad Noel, the vicar of Thaxted, and Holst soon became friends with Holst taking a great interest in the church choir. In 1916 Gustav organised a Whitsun Festival in the church. He taught music at Saint Paul’s Girls School, James Allen’s Girls School and was Director of Music at Morley College and some students from all those institutions came to Thaxted to be part of the festival. The Festival in this form was repeated in 1917 and 1918.

In 1917 the family moved into Thaxted to live in “The Steps”, 19 Town Street. A blue plaque is beside the front door. In those days it was a quiet place to work. Holst wrote several pieces specially for Thaxted including “Tomorrow shall be my dancing day.”

The Whitsuntide festival ceased after 1918. Holst was abroad for much of the year working for the YMCA, undertaking the role of Musical Organiser for troops of the Army of the Black Sea. From 1920 the Whitsuntide Festivals continued in various London Churches, Canterbury Cathedral and finally Chichester Cathedral. Yet, in Thaxted the tradition of great music in the church continued. Many nationally famous orchestras and musicians came to play. Eventually a music festival in the months of June and July was restarted in 1980 and flourishes still today as the Thaxted Festival Foundation.

Holst continued to take an important part in the music in the Parish Church in many ways. This included playing the Lincoln organ which has now been restored.

After a head-injury in February 1923, Holst began to show the signs of overwork and, on strict medical advice, retired back to his beloved Thaxted for a long holiday, spending only one day a week in London. He continued to be involved with the Parish Church and its choir up until 1925 when he left Thaxted to live in at Brook End, a large Elizabethan house, some distance from Thaxted.

Thaxted Church is one of the grandest in the county of Essex, 183 feet long and 87 feet wide, and so beautiful that it may well claim to be the Cathedral of Essex. The Church stands on a hill and dominates the town. From whichever direction the visitor approaches, the splendid spire can be seen many miles away. It has been described as the finest parish church in the country, and has both beauty and grandeur. 

The building began in 1340, and its growth continued through our great building centuries till the Reformation, and the result is a proud example of English architecture. It was completed in 1510. Perfect balance is achieved with the aisles and transepts, chapels and the two porches, the King's and the Duke's, for Edward the Fourth gave the one with his arms on it (North porch), and Lionel, Duke of Clarence gave the other marked with his coronet (South porch). Both porches are vaulted, and both have a spiral stair leading to a room above and ending in a turret. The Church was built in the form of a cathedral, with a fine crossing between the main body and the chancel. The hexagonal pulpit, with canopy and ogee-shaped base, dates from c.1680. The roof is early 16th century and comprises six bays.

The chancel is flanked by two side chapels. The left or North side is dedicated to St Thomas of Canterbury, and is generally called 'the Becket chapel'. The right or South side is dedicated to Jesus' mother, Mary, and his maternal grandmother, Ann. Formally known as the chapel of 'Our Lady and Our Lady Anne, it is generally called 'the Lady chapel'.

The chapel in the south transept is dedicated to St Catherine of Alexandria, who was condemned to death in 800AD nailed to a cart wheel. This area is now used as the Vestry but the statue to St Catherine can still be seen above the screen. The chapel in the north transept is dedicated to St Laurence, deacon of Rome, but has also been known as Trinity Aisle, and the Singers' Chapel. Since 1858 the chapel has been the home of the Lincoln Organ.

There are three organs: the largest was built by Henry Lincoln in 1820 and came here from St John's Chapel, Bedford Row, London, in 1858. The smallest 'Conrad Noel Memorial Organ' beneath the tower arch was built in 1952 by Cedric Arnold with money raised on the death of the late Fr Conrad Noel, vicar of Thaxted 1910-42. The Thaxted Music Festival has a Makin electronic organ which is located in front of the Tower and is used by the church for most of its music.

The organ built by Henry Lincoln around 1820 was rarely played due to its failing condition and its need of restoration. It was originally built for St. John's Chapel, Bedford Row, London but moved to Thaxted in 1858, and was in active use here until the 1960s. Over the 150 years in Thaxted, the instrument was not repaired or altered. The Organ was finally restored fully in 2013/2014 and returned to its place in the church during 2014. It will become an important musical resource for scholars around the country.

I was glad to see that a new and improved location has been found for their painting by Stanley Clifford-Smith, the most mystical of the Great Bardfield artists.

Clifford-Smith was an active member of the Great Bardfield Artists community during the mid to late 1950s and became the Honorary Secretary of the group. Clifford-Smith and the other Bardfield artists exhibited in the large 'open house' shows in the rural village in 1954, 1955 and 1958 as well as several one-off exhibitions and touring shows in the late 1950s. These exhibitions attracted thousands of visitors and made the art community famous thanks to press, radio and TV coverage.

Clifford-Smith's work in the 1950s was diverse and included Irish and Italian landscapes, images of ships, as well as hypnotic 'mother and child' portraits. He received many positive press reviews for his work while at Great Bardfield. In 1958 he moved to the Old Bakehouse in Great Bardfield with his family., and during the late 1950s he began to teach art in Cambridge. In the early 1960s the Great Bardfield art community fragmented and Clifford-Smith and his family (which now included four sons) moved to Little Baddow Hall near Chelmsford. During his time at Little Baddow he painted mainly thickly textured monochrome moon portraits, works inspired by the 1960s interest in space.

Following his death, several exhibitions were organised; a retrospective at the Minories, Colchester (1969), Little Baddow Hall Arts Centre (1979) and at the Fry Art Gallery, Saffron Walden (1998). His work is included in several collections including the University of Cambridge, Benjamin Britten Foundation, Aldeburgh, Suffolk; the Beecroft Art Gallery, Southend, Essex; and Thaxted Church, Essex.

Clifford-Smith's moon portraits connect with another of Jerram's installations, Museum of the Moon which was at St Martin of Tours Church in Basildon last year.

Another interesting work that I saw for the first time today as part of the DAC tour was 'The Vine Window' by Lewis Foreman Day, which is at St Mary's Great Dunmow. This window, which was designed by Day, was made by Walter Pearce in 1909. The window shows Christ the King in rich robes against a background of vines and grapes growing out of a green vase. Nine cherubs surround the head of Christ.

Mars:War & Peace is at Chelmsford Cathedral from 21 October – 12 November 2025. This incredible artwork, suspended from the Nave, follows the success of Gaia in 2022, which drew record numbers to the Cathedral. Crafted from detailed NASA imagery, Jerram’s artwork measures six metres in diameter with every valley, crater, volcano and mountain laid bare for inspection on the Martian surface. But this isn’t just an art exhibition; it’s a conversation. It’s a call to contemplate our place in the universe and our responsibilities to each other on Earth. Tonight, Francis Spufford assisted us in that conversation by reflecting on understandings of the Just War Theory drawn from the Christian tradition. 

---------------------------------------------------------------------------------------------------------

Gustav Holst - Mars, Bringer Of War.

Artlyst: Can We Stop Killing Each Other? – Sainsbury Centre

My latest review for Artlyst is on 'Can We Stop Killing Each Other?', a series of exhibitions at The Sainsbury Centre that include an installation by Aotearoa/New Zealand artist Anton Forde, a series of new paintings reflecting on the refugee crisis by Ethiopian artist Tesfaye Urgessa; presentations of historical artworks such as Claude Monet’s ‘The Petit Bras of the Seine at Argenteuil’, and an exhibition spanning Shakespearean tragedy to Hitchcockian spectacle, which asks questions of violent stage and screen narratives, plus (still to come, in November) ‘Seeds of Hate and Hope’ highlighting personal artistic responses to global atrocities, such as genocides, ethnic cleansing, war crimes and crimes against humanity:

'Given that, according to the Global Peace Index 2024, one hundred countries have been “at least partially involved in some form of external conflict in the past five years, up from 59 in 2008”, this is a timely series of exhibitions.

The Sainsbury Centre’s radical exhibition programme is based on the understanding that art not only addresses fundamental societal challenges but also engages people with the fundamental questions of life. As such, he argues, regarding this exhibition series: “The emotional power of art to generate empathy and understanding is what enables us to explore the world around us from a completely different perspective. This is what makes these exhibitions so resonant and impactful. They bring into sharp relief our ability for compassion, sensitivity and hope; some of the best defining traits of what makes us human.”'

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 October Art Diary
• The August/September Art Diary
• The July Art Diary
• The June Art Diary 2025
• 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 -

• Millet Life on the Land National Gallery
• Lubaina Himid With Magda Stawarska Kettle’s Yard
• 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?

--------------------------------------------------------------------------------------------------------------

Edwin Starr - War.

Faith that sustains in wartime

Here's the Address that I shared at St Catherine's Wickford this afternoon for our Act of Remembrance on VE Day 80th Anniversary:

In his book ‘Wickford’s Heroes’, Steve Newman writes: “In the Second World War, whether air crew flying missions over enemy territory, soldiers retreating to Dunkirk, or fighting their way across Europe, from the jungles of the Far East and the unimaginable Japanese labour camps and hell ships, to the freezing seas of the North Atlantic and North Sea, or indeed on the home front, all were served by and indeed claimed the lives of men and women from Wickford and Runwell.”

Today we have gathered to remember the many soldiers, sailors, airmen, and civilians who gave their lives restraining evil and opposing tyranny, whether from our local area or further afield, in order that we can know peace and commemorate this significant anniversary of Victory in Europe Day.

In doing so, it is helpful to know something of the lives of those we remember today. Albert Chable and his younger brother Ernest are among those named on our War Memorial and were sons of Joseph and Sarah Chable, who lived on the Nevendon Road. Albert was a Sergeant in 1st Battalion Kings Royal Rifle Corps and was first injured and then killed in fighting in Italy, having been earlier involved in the North African campaign. Ernest was a Lance Bombadier in 7th Battery 5th Heavy Anti Aircraft Regiment, Royal Artillery, and was killed in action in the Japanese attack on Hong Kong, a battle that started less than eight hours after the infamous strike on Pearl Harbour that brought America into the war. Both died when the eventual outcome of World War II was still in the balance but it was their sacrifice and that of so many more like them that would eventually lead to the War’s end. Albert’s grave is in the Cesena War Cemetery in Italy. His grieving parents chose to add a personal inscription to the headstone which read ‘The things which are seen are temporal but the things that are not seen are eternal’. Their belief was that their sons were safe in the everlasting arms of God.

The faith of those like John and Sarah Chable as they mourned the loss of their sons, sustained and inspired many involved in action, whether on the home front or the front lines. In 1944, Major John Pott led his battalion to support the defence of Arnhem Bridge during a fierce battle against German forces. Despite facing heavy enemy fire, Major Pott’s unwavering faith and courage led him to pray over wounded soldiers and show remarkable forgiveness even as a prisoner of war.

On Sunday, 17 September 1944, Major Pott’s Parachute Regiment battalion was airdropped into the Netherlands to support the defence of Arnhem Bridge. As the men of the battalion parachuted from Dakota planes, they faced enemy fire from German snipers.

The drop zone was at Ginkel Heath and the route to Arnhem Bridge led through a forest. As they moved through the woods, they encountered heavy enemy fire and several men were wounded and unable to continue. Major Pott, unable to carry the wounded with him, hid them under bushes for protection. Then, with bullets flying and explosions nearby, he stood and prayed over them.

Sergeant George Sheldrake, one of the men who witnessed this moment, recalled, “I was with another two lads. We were all in a bad way. Major Pott said he couldn’t take us with him, but he put us carefully under some bushes. He said the battalion might make a fresh attack and we could be rescued, or we would be picked up by the Germans.

“Before he moved off, he stood there and prayed over us for a couple of minutes, although there was mortar and machine-gun fire. A couple of minutes is a long time to stand in those conditions. It is something I shall never forget.”

With disregard for his own safety, Major Pott stood over the wounded men and spoke to them before leaving: "I am sorry that I have only led the Company to death and pain; but remember there is another Commander who is 'The Way, the Truth, and the Life,' and I am committing you into His hands as I leave you now. Lord Jesus, watch over them, please."

Despite the conditions, the men survived. Major Pott continued on and was shot and severely injured in the battle for Lichtenbeek Hill, with his right hand and femur shattered. When the Germans came to collect the wounded, Major Pott, unable to walk, was left behind to die. He lay in the forest for 18 to 20 hours, struggling with his wounds and writing a letter to his wife. But in a miraculous turn of events, Dutch teenagers found him and fetched their relatives with a stretcher who then carried him to safety, hiding him in a shed until a doctor could be found to treat him.

However, he was eventually discovered by the Germans and sent to a prisoner-of-war camp. While receiving treatment, he managed to escape, attempting to swim across a river despite having a plaster cast on his leg. Unfortunately, he was recaptured by the Gestapo and returned to the prison camp, where he remained for the rest of the war.

Major Pott’s son David later recalled how his father took the Bible’s command to “love your enemies” literally. “My father’s love towards Germans was maybe one of the most remarkable things,” he said. “How does a Christian soldier obey the command to ‘Love your enemies’? I think he got somewhere with that. It was amazing how he made lifelong friends with SS officer Werner Elfering and his wife in the hospital in Gronau. They became friends playing chess together!”

Even in the darkest moments of battle, Major John Pott’s faith was visible to all around him. Even as a prisoner of war, he continued to practise forgiveness and friendship, extending kindness even to his enemies.

As we come together today conscious of our need for God’s forgiveness for the sin and the desire to dominate others that leads to conflict between people, and war between nations, in our own day and time, it is the examples of those like Major Potts and the Chables that we need to remember and replicate if we are to have hope for the future and peace in our time. Amen.

--------------------------------------------------------------------------------------------------------

Oh God Our Help In Ages Past.