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Tuesday, 21 October 2025

Artlyst: Nigerian Modernism Explored - Tate Modern

My latest review for Artlyst is on Nigerian Modern at Tate Modern:

'... each room of the exhibition highlights different artists, societies and schools who carved independent visions for what modern art in Nigeria could be. The first of these, The Zaria Art Society understood the issues and challenges to a significant extent and developed the concept of ‘natural synthesis’ as a result. These artists, including Bruce Onobrakpeya, Uche Okeke, Yusuf Grillo and Demas Nwoko, began, as Bonsu explains, calling “for the merging of the best of indigenous traditions and forms with useful Western ones”. The members of the group took the concept of ‘natural synthesis’ in many different directions over the course of their careers. Still, it, essentially, became the foundation for much of the work that has been brought together for this exhibition.

As a result, spirituality features strongly in the work of many of the artists and groups found here. Onobrakpeya, who is a practising Anglican although he worked for many years at a Catholic Boys School in Lagos, combined Biblical themes with the visual and oral traditions of the Urhobo and Yoruba peoples. At the request of Fr Carroll, he created a set of prints of the Stations of the Cross which reimagines the stories set in Nigerian contexts. Later, he recreated these in his signature plastograph style as surrounds to a central image of The Last Supper. This plastograph image plus a set of the Stations of the Cross prints form an arresting group of works in the room dedicated to the Zaria Art Society.'

My other pieces for Artlyst are:

Interviews -

Monthly diary articles -

Articles/Reviews -

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Jide Chord - Another Level.

Sunday, 19 October 2025

Persist in prayer

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Aretha Franklin - Are You Sure?

Saturday, 18 October 2025

Visual Commentary on Scripture: Establishing the Heart

The fifth exhibition I have curated for the Visual Commentary on Scripture (VCS) is now live on the VCS website. Reflecting on 1 Thessalonians 2:17–4:12, it is called 'Establishing the Heart' and includes works of art by Antoine Camilleri, John Reilly and Stanley Spencer. This exhibition explores how pleasing God in our everyday lives - by living quietly, minding our own affairs, and working with our hands - leads us to see life, work and art as prayer.

My first exhibition for the VCS was 'Back from the Brink' on Daniel 4: 'Immediately the word was fulfilled upon Nebuchadnezzar. He was driven from among men, and ate grass like an ox, and his body was wet with the dew of heaven till his hair grew as long as eagles’ feathers, and his nails were like birds’ claws.' (Daniel 4:33). In the exhibition I explore this chapter with William Blake's 'Nebuchadnezzar', 1795–c.1805, Arthur Boyd's 'Nebuchadnezzar's Dream of the Tree', 1969, and Peter Howson's 'The Third Step', 2001.

My second exhibition was 'A Question of Faith' and explored Hebrews 11 through the paintings of New Zealand artist Colin McCahon. McCahon is widely recognised as New Zealand’s foremost painter. Over 45 years, his work encompassed many themes, subjects and styles, from landscape to figuration to abstraction and an innovative use of painted text. His adaption of aspects of modernist painting to a specific local situation and his intense engagement with spiritual matters, mark him out as a distinctive figure in twentieth-century art.

My third exhibition was 'Fishers of People'. This exhibition uses Damien Hirst's 'Isolated Elements Swimming in the Same Direction for the Purpose of Understanding (Left) and (Right)', John Bellany's 'Kinlochbervie', and Paul Thek's 'Fishman in Excelsis Table' to discuss Matthew 4:12-22 and Mark 1:14-20. These artworks give us what is essentially a collage of the kingdom whereby we are invited to imagine the kingdom of God as a body of water in which Christians are immersed and through which they are raised.

The fourth exhibition was 'Before the Deluge', a series of climate-focused commentaries on Genesis 6 looking at 'The Flood' by Norman Adams, 'Noah in the Ark and a Church' by Albert Herbert, and 'Noah's Ark' by Sadao Watanabe.

For more on the artists included in these exhibitions click on the following links: Antoine Camilleri, John Reilly, Stanley Spencer, William Blake, Arthur Boyd, Peter Howson, Colin McCahon, Damien Hirst, John Bellany, and Paul Thek.

The VCS is a freely accessible online publication that provides theological commentary on the Bible in dialogue with works of art. It helps its users to (re)discover the Bible in new ways through the illuminating interaction of artworks, scriptural texts, and commissioned commentaries. The virtual exhibitions of the VCS aim to facilitate new possibilities of seeing and reading so that the biblical text and the selected works of art come alive in new and vivid ways.

Each section of the VCS is a virtual exhibition comprising a biblical passage, three art works, and their associated commentaries. The curators of each exhibition select artworks that they consider will open up the biblical texts for interpretation, and/or offer new perspectives on themes the texts address. The commentaries explain and interpret the relationships between the works of art and the scriptural text.

Find out more about the VCS, its exhibitions and other resources through a short series of HeartEdge workshops introducing the VCS as a whole and exploring particular exhibitions with their curators. These workshops can be viewed here, here, here and here.

The VCS has recently launched a brand new daily email exploring the Bible through art. Through concise but vivid day-by-day encounters, Bible and Art Daily will take you on a series of journeys through the world of Scripture and the history of art. The VCS have spent the last year bringing together experts in theology and art history to carefully curate a treasury of week-long series, each exploring a particular theme, an artistic medium, or a biblical character. Find out more and subscribe here.

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Bill Fay - Cosmic Concerto (Life Is People).

Friday, 17 October 2025

Church Times - Art review: Anthony Lawrence (1951-2022): A Retrospective (Palais des Vaches, Lower Exbury)

My latest exhibition review for C hurch T imes is on Anthony Lawrence (1951-2022): A Retrospective at Palais des Vaches, Lower Exbury:

'Lawrence’s life’s work was painting, of which this large and varied retrospective is simply a glinting drop in a wider ocean. While constantly evolving through styles and series as a great “knowing” Post-Modernist, Lawrence sought, through his blend of tradition and invention, history and innovation, to hint at how reconciliation might be found in the great contest of social humanity. But, as Morsberger notes, what is supremely important in his work are the wonderful questions that he asks, questions that generated much comment when these images were first shown and that retain that capacity for all who will journey to the Palais des Vache to journey with the artist through Dante’s dark wood and do so under cataclysmic skies.'

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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Bruce Springsteen - Reason To Believe.

Thursday, 16 October 2025

Seen and Unseen: Natalie Bergman brings grief and joy to Union Chapel

My latest article for Seen and Unseen is a concert review of Natalie Bergman at Union Chapel - a soul-soaked set turned personal tragedy into communal celebration:

'In any other context, they would call this revival! A wild belle singing songs of worship and wonder in a chapel packed to the rafters with a diverse crowd of beautiful people in rapture at songs such as ‘Talk To The Lord’ and ‘I Will Praise You’. This is Natalie Bergman at Union Chapel.

Who? If you don’t already know, you need to know. Following three albums with Wild Belle, her debut solo album, Mercy, was a Gospel album written and recorded in response to the tragic death of her father and stepmother in a road traffic accident. Begun on retreat at a monastery, its lithe, light, luscious rhythms lift the listener from the valley of the shadow of death to the goodness and mercy found in the house of the Lord forever.

If Mercy equates to the direct songs of praise and witness found on Bob Dylan’s Gospel albums, then her latest release, My Home Is Not In This World, equates to those later Dylan albums (like Infidels, Oh Mercy, Time Out of Mind and Rough and Rowdy Ways) where faith infuses songs exploring life and love. '

For more on faith and music, see my co-authored book 'The Secret Chord'.

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'.

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Natalie Bergman - Keep Those Teardrops From Falling.

Wednesday, 15 October 2025

Honesty and transparency, not gaslighting

Here's the sermon that I shared this morning at St Andrew's Wickford:

Gaslighting is a form of manipulation intended to distract. Gaslighters will say, do and post the most outrageous things to take your focus off of something else. The term originates with a play called “Gas Light.” In the play, a woman’s husband tries to convince her that she is mentally unstable. He makes small changes in her environment, such as dimming the gaslights in their house. He then convinces his wife she is simply imagining these changes. His ultimate goal is to have her committed to an asylum so he can steal her inheritance.

Kate Abramson, philosophy professor at the University of Indiana, calls gaslighting the “deepest kind of moral wrong” and suggests that it aims ‘to induce in someone the sense that her reactions, perceptions, memories and/or beliefs are not just mistaken, but utterly without grounds.’ For the most part, this manipulation by distraction technique is very effective at changing people’s sense of reality and is currently practised by many politicians, perhaps most particularly Donald Trump.

In a recent article for ‘The Atlantic’ Peter Wehner writes: “Gaslighters are manipulative and controlling, comfortable belittling and insulting others. They are accomplished at denying, lying, and projecting. And sometimes, if they’re lucky enough and skilled enough, they make it to the White House. When they do, the horrors that are usually visited on an individual are instead visited on an entire nation.

At that point, the enormous machinery of the federal government, supported by outside groups and media outlets, becomes part of a massive and relentless disinformation campaign. The aim is to provoke distrust, confusion, and disorientation, which corrodes people’s confidence in institutions and undermines their grasp of reality. The ultimate goal is to divide and weaken civil society, and to undermine its ability to mobilize and cohere.

When there is no objective truth, when everyone gets to make up their own reality, their own script, and their own facts, authoritarians thrive.”

Gaslighting, however, is not a new phenomenon. Instead, as Jesus reveals in today’s Gospel reading (Luke 11.42-46), it has been practised for many years in the context of religion.

The first form of gaslighting that Jesus highlights is that of using minor but visible aspects of religious practice to distract others from an unwillingness or inability to practice the kind of love and justice to which religious practices are intended to lead. The example he gives is of Pharisees giving a tenth of their herbs while not practising love and justice towards others. By seeming to obey the Jewish law to the nth degree, through tithing money and produce, the Pharisees were able to distract attention away from their lack of charity and their unjust practices towards others.

The second form of gaslighting is in regard to image by using the prestige associated with places of authority or power to distract attention away from an inability to come alive spiritually. Such people have no reality to their spiritual life and therefore will not be remembered but use the trappings of religious practices to give the impression of sanctity or piety. Abramsons argues, that the gaslighter poses as a source of normative authority. The gaslighter assumes the pretence of sincere testimony, drawing on the standing to issue demands that others “see things his way.”

The third form of gaslighting highlighted by Jesus involves the constant addition of rules and regulations that apply to others as a distraction from the reality that such rules are not applied to oneself. Such people seek to make life harder for others while relieving themselves of such constraints.

With directness and honesty Jesus calls out the gaslighting practised by the Pharisees and lawyers for what it is. Psychotherapist Stephanie Sarkis says that this is one of two responses we can make to gaslighters. She says that: ‘When you see gaslighting among your friends, family or colleagues, call it out for what it is. Provide evidence that what a gaslighter is saying and doing is not true. Educate others about gaslighting so that they, too, can start to identify it and call it out. But when you catch a gaslighter, simply present the facts to them, calmly and with purpose. Don’t allow yourself to get baited. Then walk away, shut off your laptop, leave it be.’ Her advice seems to mirror what we see Jesus do and say here as he pronounces woes on the gaslighters of his own day and time.

By contrast to those who are gaslighting, Jesus seeks to tell it like it is in relation to himself and his disciples. He tells his disciples that he is going to Jerusalem to die, he tells those wishing to follow him that they will have to bear crosses too, he tells Peter that he will deny him and Judas that he will betray him. His disciples often don’t understand or don’t want to understand, yet there is a straightforwardness and transparency about much of what Jesus said and did, with no attempt to curry favour or distract from the challenges of faith. We are, as ever, called to follow in his footsteps. Amen.

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Denison Whitmer - Carry The Weight.

Tuesday, 14 October 2025

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 -

Monthly diary articles -

Articles/Reviews -

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Edwin Starr - War.