Here is the reflection that I shared in today's Choral Eucharist at St Martin-in-the-Fields, speaking on John 3. 16 – 21:
God so loved - love is from God because God is love; pure love, the essence of all that love is and can be. Love that is patient, kind, not envious or boastful or arrogant or rude. Love that does not insist on its own way; is not irritable or resentful, does not rejoice in wrongdoing, but rejoices in the truth. Love that bears all things, believes all things, hopes all things, endures all things. Love that never ends.
God so loved the world - the heavens and the earth that God created in the beginning, the heavens which declare the glory of God and the sky that displays what his hands have made, humankind that God created in his own image. God saw all that he had made, and it was very good. God so loved he world that he created in the beginning.
God so loved the world that he gave – true love involves giving; in fact true love is giving. Our love is often less than this. We speak of those we love as being everything we need or as soul mates who complete us, but rarely talk in terms of giving all we have to others. Yet that is the nature of God’s love, he gives all he has to us.
God so loved the world that he gave his only Son – the Father gives us his Son and the Son gives his life, his whole life, even unto death. Yet, because Father, Son and Holy Spirit are one God, this is a way of saying that what God gives to us is himself, everything he has and is.
God so loved the world that he gave his only Son, so that everyone who believes in him may not perish but may have eternal life – God gives himself to us in order that we can become part of him and enter the very life of God himself. Jesus said he came that we might have life and have it to the full. Eternal life is the life of love that the Father, Son and Holy Spirit share within the Godhead and in to which we are called to come and share by the ever-giving love that God the Father shows to us through God the Son.
God’s love has been revealed among us in this way, that God sent his only Son into the world so that we might live through him. We live in the light of this love which reveals all that we can potentially be and become as human beings. We come into the light of Christ by comparing our lives to his.
As we do so, inevitably we find that we fall short; that our capacity to do what pleases him (by living out all goodness, righteousness and truth) is less than his capacity for these things. Generally when we make comparisons, we compare ourselves with others and so compare ourselves with those we think are worse than or similar to ourselves. We’ve all heard others and, maybe, ourselves saying ‘I’m alright, Jack!’ or ‘I’m as good as the next person, if not better!’ On the basis of these comparisons we think we are ok; at least no better or worse than others, at best, better than many others around us. On the basis of these comparisons we are comfortable with who we are and see no need to change.
In the light of the way that Jesus loved, we see our own lack of love, joy, peace, patience, kindness, goodness, faithfulness, humility, and self-control. If we say that we have no sin, we deceive ourselves, remain in darkness, and there is no truth in us. The true comparison that we make should not be with others, but with God. Jesus challenged us to ‘Be perfect, therefore, as your heavenly Father is perfect.’ On the basis of that comparison, we all fall short. As St Paul writes, ‘for all have sinned and fall short of the glory of God.’
Jesus, through his life and death, showed us the depth of love of which human beings are really capable and, on the basis of that comparison, we come up well short and are in real need of change. It is when we live in the light of Christ, seeing ourselves as we really are that we become honest with ourselves and with God. By coming into that honesty we confess our sins and are purified; as we said earlier in this service, let us confess our sins in penitence and faith, firmly resolved to live in love and peace with all.
We can sum up in some words from the first letter of John: 'God’s love was revealed among us in this way: God sent his only Son into the world so that we might live through him. In this is love, not that we loved God but that he loved us and sent his Son to be the atoning sacrifice for our sins. We have seen and do testify that the Father has sent his Son as the Saviour of the world. God is love, and those who abide in love abide in God, and God abides in them. Love has been perfected among us in this: that we may have boldness on the day of judgment, because as he is, so are we in this world. Beloved, let us love one another, because love is from God. The commandment we have from him is this: those who love God must love their brothers and sisters also' (1 John 4. 7 – 21 abridged).
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Giovanni Pierluigi da Palestrina - Kyrie.
Wednesday, 11 April 2018
Saturday, 7 April 2018
Apocalypse Now: Michael Takeo Magruder interviewed
My latest interview for Artlyst is with Michael Takeo Magruder with whom I discuss the inspiration behind De/coding the Apocalypse his installation inspired by the Book of Revelation. In doing so, I particularly wanted to explore the way in which his ‘translation of digitally-aligned ideas and situations into visceral forms and accessible experiences allows us personally to engage with and reflect on his complex subjects in our own time and on our own terms’ and the way in which we can do so by following ‘the trajectory of his over-arching narrative as it picks up and weaves together threads drawn from a wide base of cultural theories, technologies and aesthetics’.
However, I began the interview with reference to the evocative and personal reflection Michael has offered for this exhibition:
‘I was a child of the Cold War era living in my nation’s capital surrounded by the incessant rhetoric and proxy wars of two ideologically opposed superpowers – all made real by the constant threat of nuclear annihilation. Even at that young age I was already fascinated with both technology and religion. Upon reading the Book of Revelation for the first time I wondered to myself if John the Seer wrote of things like locust hordes and falling stars because he could not understand, much less describe, swarms of apache helicopters and the sight of missiles raining from an evening sky.
Now, three decades later, I watch my daughter grow up in a very different world that is defined by data, networks and code. And in this age of such technological possibility and destructive potential, I can’t help but wonder what end times she imagines in her own quiet moments of personal reflection. Her fears (or hopes) about the final days that she might witness are certainly not the same as those from my youth. My dreams never materialised, but hers might. So I look to her and try to understand what is her Apocalypse.’
My other Artlyst articles and interviews are:
However, I began the interview with reference to the evocative and personal reflection Michael has offered for this exhibition:
‘I was a child of the Cold War era living in my nation’s capital surrounded by the incessant rhetoric and proxy wars of two ideologically opposed superpowers – all made real by the constant threat of nuclear annihilation. Even at that young age I was already fascinated with both technology and religion. Upon reading the Book of Revelation for the first time I wondered to myself if John the Seer wrote of things like locust hordes and falling stars because he could not understand, much less describe, swarms of apache helicopters and the sight of missiles raining from an evening sky.
Now, three decades later, I watch my daughter grow up in a very different world that is defined by data, networks and code. And in this age of such technological possibility and destructive potential, I can’t help but wonder what end times she imagines in her own quiet moments of personal reflection. Her fears (or hopes) about the final days that she might witness are certainly not the same as those from my youth. My dreams never materialised, but hers might. So I look to her and try to understand what is her Apocalypse.’
My other Artlyst articles and interviews are:
- Jonathan Anderson: Religious Inspirations Behind Modernism
- 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
- Caravan – An Interview With Rev Paul Gordon Chandler On Arts Peacebuilding
- Art Awakening Humanity Alexander de Cadenet Interviewed
- Polish Art In Britain Centenary Marked At London’s Ben Uri Gallery
- Michael Pendry New Installation Lights Up St Martin In The Fields;
- Mark Dean Projects Stations of the Cross Videos On Henry Moore Altar;
- 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; and
- Was Caravaggio A Good Christian?
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Bob Dylan - Jokerman.
Windows on the world (391)
Norwich, 2017
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The Fray - Over My Head (Cable Car).
Chaiya Art Awards: Where is God in our 21st century world?
This year’s awards are being held at London’s prestigious gallery@oxo located on the busy South Bank Riverside and celebrate inspiring art on the first intriguing theme: Where is God in our 21st century world?
This curated and juried exhibition of painting, sculpture and video by more than 40 artists is for the curious and open-minded, for people of all faiths and none. It is bursting with richness and diversity, vulnerability and exploration, colour and fragility, treasure and beauty.
The Chaiya Art Awards showcases some of the most innovative and exciting artists looking to continue this age old conversation through different mediums, in a modern setting through contemporary eyes, The Chaiya Art Awards exhibition offers the opportunity to view and buy beautiful and stimulating art that is often difficult to find on display elsewhere.
The Chaiya Art Awards themed exhibition is on at Oxo Tower Wharf until 8 April 2018, open 11am – 6pm daily.
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Switchfoot - The Day I Found God.
Friday, 6 April 2018
Dry Room, Inside Job and King Lear
Dry Room is a cross-disciplinary piece about childhood trauma, friendship, and redemption. Following its successful premiere at the World Stage Design Quadrennial 2017, the show will be given its UK premiere at the Brighton Fringe before moving on to the Old Fire Station Oxford.
Ling had a double reason for celebrating tonight as her watercolour King Lear won The Frank Herring Easel Award in her first exhibition as a Candidate Member of the Royal Institute of Painters in Water Colours. It is her fourth exhibition with the Institute since 2015 and she has four new paintings in the exhibition at Mall Galleries.
This weekend (6 - 8 April), however, the associate film Dry Room is being displayed at Tate Modern in Inside Job, which presents works by 135 employees from Tate Britain, Tate Modern, Tate Liverpool and Tate St Ives, including painting, photography and sculptures. Tonight I was at the PV with Director & Co-Designer, Zi Ling, and Story writer & Producer, Eldarin Yeong.
In addition to Dry Room, the following are also well worth looking out for at Inside Job: Ed Hadfield's ‘Affirmative 1’; Izna Bandey's ‘There Are No Words’; and Kyriaki Mitsou's 'TETRALOGY: PRAY LOVE TRY HOPE'.
Inspired by Surrealism art and the Story Stem technique - used by psychologists to study children's inner world, the story of Dry Room follows three adopted children who are the survivors of childhood trauma. Natalie, a victim of child neglect and sexual abuse; Christopher lost his parents in an accident; Jack suffered domestic violence from his alcoholic parents. To escape from their haunting experiences, they embark on a journey of self-discovery and encounter many demons of the past.
Set in a Magritte-styled room, this performance installation gives an intriguing cinematic perspective to a narrative dance, by combining live music and conceptual art. Dry Room is directed and co-designed by Ling and the emerging designer Tong Zhao (Royal Shakespeare Company, Harper's Bazaar 150th Anniversary exhibition, Paris Fashion Week). Live music is played by the talented Spanish experimental cellist Carolina Bartumeu (Royal Albert Hall, Wigmore Hall, Berlin Philharmoniker). Dry Room features Italian minimalist composer Giovanni Sollima's heartbreaking cello solo, Alone, and improvised music by Carolina Bartumeu.
Inspired by Surrealism art and the Story Stem technique - used by psychologists to study children's inner world, the story of Dry Room follows three adopted children who are the survivors of childhood trauma. Natalie, a victim of child neglect and sexual abuse; Christopher lost his parents in an accident; Jack suffered domestic violence from his alcoholic parents. To escape from their haunting experiences, they embark on a journey of self-discovery and encounter many demons of the past.
Set in a Magritte-styled room, this performance installation gives an intriguing cinematic perspective to a narrative dance, by combining live music and conceptual art. Dry Room is directed and co-designed by Ling and the emerging designer Tong Zhao (Royal Shakespeare Company, Harper's Bazaar 150th Anniversary exhibition, Paris Fashion Week). Live music is played by the talented Spanish experimental cellist Carolina Bartumeu (Royal Albert Hall, Wigmore Hall, Berlin Philharmoniker). Dry Room features Italian minimalist composer Giovanni Sollima's heartbreaking cello solo, Alone, and improvised music by Carolina Bartumeu.
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Giovanni Sollima - Alone.
Thursday, 5 April 2018
Martin Luther King Jr.: Epistles & Prophets
Peter Challen writes that in observance of the lasting impact of Rev. Dr. Martin Luther King, Jr’s ministry, Trinity Church Wall Street in New York City is offering a new video curriculum free of charge.
Martin Luther King Jr.: Epistles & Prophets brings together an interview with Civil Rights icon and theologian Ruby Sales and expert speakers exploring contemporary black/white relationships through writings by James Baldwin, Thomas Merton, and King that resonate powerfully today.
Use the segments in faith-formation educational settings large or small, or on your own. Each video comes with a set of questions to help facilitate further reflection.
The material can be viewed online or downloaded at www.trinitywallstreet.org/mlk.
Martin Luther King Jr.: Epistles & Prophets brings together an interview with Civil Rights icon and theologian Ruby Sales and expert speakers exploring contemporary black/white relationships through writings by James Baldwin, Thomas Merton, and King that resonate powerfully today.
Use the segments in faith-formation educational settings large or small, or on your own. Each video comes with a set of questions to help facilitate further reflection.
The material can be viewed online or downloaded at www.trinitywallstreet.org/mlk.
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Marvin Gaye - Abraham, Martin And John.
Tuesday, 3 April 2018
Zi Ling & Eldarin Yeong
This year, Zi Ling has been accepted as a Candidate Member of the Royal Institute of Painters in Water Colours. The Royal Institute of Painters in Water Colours 206th Exhibition at Mall Galleries will show a diversity of styles and techniques, from traditional uses of the medium to more experimental and innovative paintings. Works on display are produced by members of the RI and other artists whose pictures have been selected to hang alongside these by the RI Council, including many young painters using water-soluble media in often new and exciting ways. This is Ling's fourth exhibition with the Institute since 2015. She will have four new paintings included in the exhibition.
This weekend, in a remarkable first, staff from all four British Tate galleries are to display their own artistic creations at Tate Modern in London. The exhibition, entitled Inside Job, will present works by 135 employees from Tate Britain, Tate Modern, Tate Liverpool and Tate St Ives, including painting, photography and sculptures. Staff whose work will be displayed include curators, art handlers, guards, shop assistants, visitor assistants and people from the finance, restaurant and marketing departments. The exhibition has been partly financed by the Tate Social Fund.
Jing Eldarin Yeong joined the Tate in May 2017 and is showing Dry Room, an associate dance video of a cross-disciplinary piece that she wrote and produced last year for the World Stage Design Quadrennial. It is a collaboration between her Studio and the videographer Jevan Chowdhury. She says: 'To make it an independent piece from the theatre production, we used London cityscape as the backdrop and tried to capture the sense of isolation, self-estrangement and social meaninglessness. It is also about breaking the boundary of theatre, responding to the environment, and exploring non-conventional space.'
Jing Eldarin Yeong joined the Tate in May 2017 and is showing Dry Room, an associate dance video of a cross-disciplinary piece that she wrote and produced last year for the World Stage Design Quadrennial. It is a collaboration between her Studio and the videographer Jevan Chowdhury. She says: 'To make it an independent piece from the theatre production, we used London cityscape as the backdrop and tried to capture the sense of isolation, self-estrangement and social meaninglessness. It is also about breaking the boundary of theatre, responding to the environment, and exploring non-conventional space.'
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Lizz Wright - Speak Your Heart.
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