Windows on the world (516)

Dublin, 2025

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Andrew Rumsey - It'll Come To Me.

 

ArtWay - “Giving identity to forms” – an interview with Márta Jakobovits

My latest interview for ArtWay is with ceramic artist Márta Jakobovits:

"I gravitate toward deep, intuitive approaches that bring visual and mental peace. I believe everyone’s life is a pilgrimage, a journey full of ups and downs. Artists have the ability to translate that journey, making it visible, audible, or readable, depending on their medium."

For more on Márta Jakobovits see here and here. A solo exhibition by Márta Jakobovits, in collaboration with Elizabeth Xi Bauer Gallery, is at The Liszt Institute (17-19 Cockspur Street, London SW1Y 5BL) from 2 May - 30 May 2025.

My other writing for ArtWay can be found at https://www.artway.eu/authors/jonathan-evens. This includes church reports, interviews, reviews and visual meditations.

ArtWay.eu has been hailed "a jewel in the crown of work in Christianity and the arts," and having come under the custodianship of the Kirby Laing Centre, the much-loved publication has entered an exciting new chapter in its story following the launch of a new website in September 2024.

Since its founding, ArtWay has published a rich library of materials and resources for scholars, artists, art enthusiasts and congregations concerned about linking art and faith. Founded by Marleen Hengelaar-Rookmaaker in 2009, ArtWay's significance is reflected in its designation as UNESCO digital heritage material in the Netherlands.

In 2018, I interviewed ArtWay founder Marleen Hengelaar-Rookmaaker for Artlyst on the legacy of ArtWay itself.

In the video above, the ArtWay team recounts the history of this much-loved resource and looks ahead to an exciting future for ArtWay.

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Amazing Blondel - Benedictus Es Domine.

Seen and Unseen - How Mumford and friends explore life's instability

My latest article for Seen and Unseen is entitled 'How Mumford and friends explore life's instability' and explores how Mumford and Sons, together with similar bands, commune on fallibility, fear, grace, and love:

'“Serve God, love me, and mend” must rank as one of the more unexpected openings to a hugely popular album in the history of rock ‘n’ roll. A quote from Shakespeare’s Much Ado About Nothing, it introduces us to the potent mix of Shakespearean and Biblical allusion and imagery to be found on Mumford and Sons debut album Sign No More.'

For more on Mumford and Sons see here and here. For more on music and faith 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 for Seen and Unseen was entitled 'Why sculpt the face of Christ?' and explored how, in Nic Fiddian Green’s work, we feel pain, strength, fear and wisdom.

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Mumford and Sons - Malibu.

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.

Hyde Hall

Nestled in the heart of rural Essex, Hyde Hall is an oasis of peace and tranquillity with an eclectic mix of traditional and modern planting styles. The garden has expanded over the years and there are now more than 365 acres of garden to explore.

To look at Hyde Hall today, it’s hard to imagine its beginnings as a farm estate. The farmhouse and estate were purchased by Dick and Helen Robinson in 1955 and they donated the 24-acre garden they created with the surrounding farmland to the RHS in 1993. Since its inception, this vast garden has established from a handful of trees to a jewel in the landscape.

In 1976 the Hyde Hall Gardens Trust was set up and in 1993, the Robinsons donated the 24 acre garden they had created with the surrounding farmland to the RHS. Today, the garden encompasses 365 acres, of which 90 acres are leased to a local tenant farmer and 85 acres are grassland. One of the first major garden projects was the installation of a 45-million litre (10 million gallon) reservoir to provide the garden with all its irrigation needs. To further promote its water-efficient ethos a Mediterranean styled Dry Garden was added to showcase a range of drought tolerant plants. The Dry Garden was completed in the spring of 2001 – following one of the wettest winters known.

In 2002, a renovation of the old Pig Park along with The Queen Mother’s Garden were undertaken. Work then began on an Australia and New Zealand Garden. Designed around mature eucalyptus trees, the area has an authentic Antipodean feel with many native plants such as kangaroo paws, and tree ferns. Project work continued with the redevelopment of Hermione’s Garden, which is a true plant haven with many detailed and unusual species. As a lasting tribute to Hyde Hall’s original owners, the area was renamed The Robinson Garden.

The RHS also embarked upon an extensive tree planting programme, with around 50,000 trees initally planted. Visitors can now enjoy a stroll through the woodland and explore the rich flora and fauna. A major turning point came in 2008 with the construction of a visitor centre comprising a café, shop and garden centre. The building was officially opened in March 2010 by Alan Titchmarsh. Work continued at pace and the ever-changing landscape ensured visitors had plenty to draw inspiration from. Projects included a Winter Garden, Global Growth Vegetable Garden and a Sky Meadow.

Hyde Hall now offers beautiful panoramic views and rollings hills. The landscape continues to evolve with new features creating a garden for all seasons. 

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 Linda Perhacs - The Soul Of All Natural Things.

Ingatestone Hall

"Sir William hath at his own great costs and charges erected and builded a new house, very fair, large and stately, made of brick and embattl'd."

So, in 1566, wrote Thomas Larke, surveyor to Sir William Petre, about Ingatestone Hall, the new house that Sir William had built twenty-five years earlier in the midst of his Essex estates.  Since then, the house has passed through the hands of fifteen generations of the Petre family who continue to own and occupy it today.

The Hall stands in open countryside, one mile from the village of Ingatestone and substantially retains its original Tudor form and appearance with its mullioned windows, high chimneys, crow-step gables and oak-panelled rooms and is surrounded by ten acres of enclosed gardens comprising extensive lawns, walled garden and stew pond. 

The Hall remains primarily a private family residence - and, no doubt because of this, many visitors have commented on its friendly, welcoming atmosphere - but, since 1992, the family have made the house and grounds available for a wide variety of purposes. On specified days during the summer months, visitors are welcome to spend a couple of hours or more exploring the house and grounds.

Among the rooms that can be seen, which contain paintings, furniture and memorabilia accumulated over the centuries, are:

• The SUMMER PARLOUR, the former ballroom in which teas and light meals are served to visitors and where private dinners or receptions can be accommodated.
• The oak-panelled STONE HALL, created by Lady Rasch to replace the former Great Hall, lost when the West wing was demolished.
• The DINING ROOM with its walls lined with oak-panelling and tapestries.
• The OLD KITCHEN with its cavernous open fireplace.
• "MY MASTER'S LODGING", the principal bedroom, with its four-poster bed.
• The QUEEN ANNE ROOM in contrasting 18th century style with pine rather than oak panelling.
• The 29 metre long GALLERY lined with 40 portraits of successive generations of the Petre family and containing displays of memorabilia accumulated over the centuries.
• Two secret PRIESTS' HIDING-PLACES concealed within the thickness of the walls. The Petre family sheltered a number of Catholic priests at Ingatestone, among them was St. John Payne, who was executed in 1582.

The Petre Family pictures is a collection of portraits and other paintings originally housed at Ingatestone Hall and Thorndon Hall. The collection remains on display at Ingatestone Hall and includes a portrait of Sir William Petre and of 15 of his descendants who bore the title Baron Petre. The collection also includes two works by George Stubbs showing members of the Petre family hunting.

The orchards that almost entirely covered the GROUNDS in Tudor times have disappeared but a few features from those days remain - the high boundary wall and the walled garden where summer al fresco picnics were enjoyed, the stew pond and the avenue of ancient lime trees that borders it and the cistern in the Old Orchard in which until very recently, spring water was collected to supply the house.

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Natalie Bergman - Gunslinger.

Cressing Temple Barns

Cressing Temple Barns offers a unique piece of history at the 13th century, Knights Templar Barns, complete with restored Tudor walled garden and Tiptree tea rooms.

The Grade I listed Barley and Wheat Barns are the oldest known timber framed barns and amongst the few remaining Templar buildings in England.

Granted to the Knights Templar in 1137, Cressing Temple Barns is of significant historic interest for its unique buildings and garden.

Internationally renowned for its impressive and remarkably well preserved medieval carpentry, the barns attract visitors from around the world, providing them with a remarkable insight into the building techniques of the time and a glimpse into the lives of the people who built them.

Nestled in the grounds, the walled garden has been faithfully recreated as a Tudor pleasure garden. A place of beauty and tranquillity, sure to delight anyone with an interest in horticulture or history.

Take a virtual tour of the beautiful walled gardens in all their spring glory and discover seasonal gardening tips from one of the Head Gardeners, Rebecca. Discover more about the impact of The Peasants' Revolt of 1381 on Cressing Temple though a recent research project. Read more about the restoration of some of the working farm machinery at Cressing Temple Barns.

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The Call - Amazed By You.