Fr. Stephen's anniversary gift

Fr Stephen Pugh, Parish Priest at St Margaret of Antioch Ilford, recently celebrated 25 years of ordained ministry and commission4mission received a commission to create a gift celebrating this occasion. The brief included reference to silver, the colour for 25th anniversaries, plus Stephen's love of France and his ministry itself. Henry Shelton rose to the challenge with the image above which was presented to Fr Stephen on Sunday 7th July.

St Margaret of Antioch recently received a special commendation from the Diocesan Advisory Committee in the Diocese of Chelmsford for their commissioning of a holy water stoup by Mark Lewis, which was also a commission4mission commission. commission4mission also gained a second such commendation for etched windows by Henry Shelton and Richard Paton at All Saints Hutton.  

Second commendation awarded by DAC

A second commission4mission commission has been commended by the DAC in this year's awards for the Diocese of Chelmsford. The first was the Holy Water Stoup designed by Mark Lewis for St Margaret of Antioch, Ilford. The second was for the Four Evangelists windows designed by Henry Shelton and etched by Richard Paton for All Saints Hutton. The windows feature symbols of the four Evangelists complementing the earlier set of windows in the opposite screen which features symbols of seven Saints.

Mark Lewis - DAC commendation, book and exhibition

The Holy Water Stoup designed by Mark Lewis for St Margaret’s Great Ilford has been awarded a ‘Commended’ certificate in the annual Design Awards of the Diocesan Advisory Committee for the Diocese of Chelmsford.  The judges commented on 'the simple and elegant design' of the Holy Water Stoup which they said 'has been well crafted.'

Mark has explained that the design of the Holy Water Stoup, which is made from oiled oak and polished brass, 'is inspired by a rising and opening hand in a gesture that suggests invitation or something offered and given in love, reflecting the mission of the Church.' The engraved inscription on the stoup reads as, ‘We praise you O God.’ The Stoup was dedicated by parish priest Fr. Stephen Pugh on Sunday 25th March 2012 in memory of Mr Ron Smith.

Mark has recently had his book entitled Days and Rites: Popular customs of the Church published by the Heart of Albion Press:

"People go to church to worship and, as is often quipped, to be 'hatched, matched and dispatched'. Yet these quintessential rites have been adapted in all sorts of ways by parishioners and clergy up and down the country, while a great number of 'blessings' and other services that are quite specific to individual churches are performed annually. Collectively, they create a rich variety of traditions, many of which are only known about locally.

Some of these liturgical traditions have survived unbroken over many centuries, others have been revived after a break during the twentieth century – while yet more continue to be invented. Some of these more recent traditions – such as Harvest Festivals and Christingle – are now so ubiquitous that many churchgoers are unaware of a time when they were not part of the yearly cycle of customs.

By drawing together, for the first time, detailed information about these popular customs of the church, Mark Lewis hopes to stimulate further interest, research and recording of these remarkable events."

Mark's Drawing the Line exhibition at the School of Jewellery in Birmingham has just closed. The exhibition represented the current output of an ongoing drawing and mark-making project in the form of a series of weekly visual diaries. These sketchbook journals are a response to the urban and rural landscape observed on Mark’s train journey which is undertaken every week from London Marylebone to Birmingham Snow Hill (and vice versa) on the Chiltern Mainline. This attempt to build up a different form of visual intimacy with a continually changing landscape viewed in all directions began over two years ago. The project has challenged the relationship between visual perception and mark-making and encouraged new ways of seeing which are essential when working spontaneously under self-imposed pressure.

The exhibition presented all of the visual diaries in both original and digitised forms. Each sketchbook journal is an unedited response to a section of the urban and rural landscape observed on Mark's journey and attempts to capture a sense of place through immediate felt response, memory and cumulative knowledge. Every journey has prompted a different way of engaging with the surrounding landscape. Some sequences are overlaid with responses from subsequent journeys; others are worked up later from recalled fragments, while more recent series are semi-abstractions generated almost totally from memory. Earlier figurative studies have gradually given way to the use of visual metaphors capturing landscape gestures, hidden structures, energies and patterns.

Mark is an industrial designer specialising in product design, jewellery and silversmithing. He has taught drawing and design in adult, further and higher education for 30 years. Formerly a principal lecturer in the Sir John Cass Department of Art Media and Design at London Metropolitan university, he is currently lecturing part-time at BIAD, Birmingham and the Goldsmiths Centre in London. Drawing has always been central to his creative practice and he is currently pursuing personal projects which focus on gestural drawing and mark-making.

commission4mission catalogue

Our newly produced catalogue briefly tells our story and profiles our current artists showcasing the wide range of media and styles which can be commissioned from our artists.

The catalogue includes the following article on the 'Challenges of Church Art' by The Revd Jonathan Evens, Secretary of commission4mission:

Local churches contemplating the possibility of commissioning contemporary art are often put off by what they think will be prohibitive costs, disputes in the congregation about appropriate styles, and arguments that there are more important priorities for the available money.

Since the midpoint of the twentieth century, cathedrals in the UK began, once more, to regularly commission contemporary art but, for the reasons listed above, local churches have rarely followed their lead. commission4mission is a new arts organisation which is seeking to change this, primarily by making the commissioning of contemporary art an opportunity for mission and a means of fundraising for charities.

The visual arts can contribute to mission by speaking eloquently of the Christian faith; providing a reason for people to visit a church; making a link between churches and local arts organisations / initiatives and providing a focus around which local people can come together for a shared activity. A good example of this is St Albans Romford, where commission4mission was launched in March 2009. As a direct result of its many commissions the church is regularly visited by those from the local community - and further afield - who come to see Christianity differently through their visit.

When the visual arts are seen as integral to mission, then the interest of congregations in commissioning is likely to grow - but the issues of cost and competing priorities remain. As a result, commission4mission is building up a pool of artists from a range of different disciplines all of whom are able to work flexibly to available budgets and are willing to allow a proportion of the cost of each commission to go to charity. commission4mission also facilitates a process by which commissioned artworks can be donated to churches as memorials to loved ones.

Our experience suggests that this combination of charitable fundraising and memorial donations overcomes many of the issues usually faced when considering the commissioning of contemporary art for local churches. And, none of this means that quality is being compromised either. In the words of Henry Shelton, a founding artist member of commission4mission, what we offer is "quality work and craftsmanship, rather than mass-produced work, to continue the legacy of the Church as a great commissioner of art."

For the artist, however, a very different set of challenges exists as a result of church commissions. All churches, regardless of age and style, provide an existing space, which is coupled with a history (recent or ancient) that includes architecture, existing art, and community memories. The artist, and the finished artwork, has to relate in some way to the space and its history, either integrating within it or challenging what already exists through its difference.

Christianity, too, comes with a history and visual heritage with which the artist and the finished artwork must interact. Questions must be asked. Will the artist work with traditional Christian imagery or iconography? Can a legitimate contemporary approach be found to traditional iconography? Can new and contemporary symbols be found for the traditional images and doctrines of the Christian faith?

Each of our artists has one or more solution to these questions. Contrast, for example, the expressionist style of Rosalind Hore’s The Baptism of Christ with the semi-abstract minimalism of Henry Shelton’s engraved window on the same theme at All Saints Goodmayes. Both work with traditional iconography but to very different effect; Hore conveys a sense of Christ caught up in an ecstatic union within the Trinity, while the simple elegance of line and minimalism of imagery in Shelton’s design suggests the ease with which those at the time could have overlooked the significance of this event.

As part of this dialogue, all artists also face the question, ‘What is Christian art?’ In the past, this question was easily answered. Christian art was simply art for churches created under the patronage of the Church, by artists in communion with the Church, and using the iconography of the Church. Today, there is no easy answer to this question for several reasons: artwork using traditional iconography could be created for church or gallery; the Church is no longer a major patron of the visual arts; traditional iconography can be utilised by artists in order to be subverted or challenged; artists exploring spiritual themes could be people of faith, or not - and may - or may not - use traditional iconography.

Today, all of the old certainties regarding Christian art can be questioned. commission4mission, though, by focusing primarily on encouraging the commissioning and placing of contemporary art in churches largely returns to the earlier understanding.

And finally, let us not forget that, in addition to their dialogue with space, history, and iconography, artists commissioned by churches are also in dialogue with people. Most commissions will involve the artist in relating to a group of church members, and possibly to some advisory body (such as the Diocesan Advisory Committee in the Church of England system). Relating to the different tastes and appreciations of the visual arts, and to differing understandings of the role of the artist among those liaising with the artist on behalf of the church, make this dialogue one of the most challenging for the artist - and can lead to a concern that art is being created by committee and vision diminished as a result.

In writing of the “passionate and intelligent understanding of the arts in the service of the Church” that was demonstrated by Bishop George Bell (Bishop of Chichester, 1929 - 1958), Canon Keith Walker sets out a model for an ‘ideal’ relationship between church and artist (K. Walker, Images or Idols? The Canterbury Press Norwich, 1996). Bell argued, “The Church should dictate the subject-matter whilst the artist should decide the style;” and that “Today’s artists (should) be employed to paint in our churches, not in a style imitative of the past, but in the idiom natural to them;” and lastly “The Church … must be prepared to trust its chosen artists to begin their work and carry it through to the end as the fulfillment of a trust, the terms and circumstances of which they understand and respect.”

Perspectives on commissioning Christian Art (3)

Dr. James Bettley spoke at commission4mission's recent Study Day from the perspective of those advising on the commissioning contemporary art for churches:

Commissioning contemporary art for a church is just about the most difficult thing that a PCC may have to do. It is in a different league from most other decisions because of the element of choice and the sense that it involves discretionary spending. In addition, those involved are unlikely to have had any previous experience of commissioning or to know the world of arts and crafts. As a result, they are likely to need all the advice they can get.

Within the Church of England there is not much that a church can do in this area without getting a faculty. Faculties ensure that: buildings and contents are kept in the best condition for future generations; work is done to a good standard; and wardens and incumbents are protected from personal liability.

Discussion with the Diocesan Advisory Committee (DAC) is therefore essential and their role is to advise everyone involved in the application, from the PCC to the Chancellor who ultimately grants the faculty. DACs have been nicknamed the 'Damned Awkward Committee' but they actually exist in order to show parishes what can be done.

The DACs first reaction to a commission application will be, "Fantastic, tell us more." The DAC Design Awards encourage churches to use individual artists and craftspeople. St Albans Romford is an example of a church going down this route and, as a result, gaining many awards. Commissioning original work may be more expensive but will give better value for money in terms of pleasure and quality, so the DAC is favourably disposed towards commissioning and will steer parishes down this path.

The issue of whether to commission original work or to purchase wares from a Church furnishing company derives from the development of Church furnishing companies in the nineteenth century. Their establishment was a reaction against indiscriminate gifts that churches had felt obliged to accept. Churches should set standards as to what can be given and steer donors towards those items that are needed by the church.

William Morris said, "Have nothing in your homes that you do not know to be useful or believe to be beautiful." What is useful in church can also be beautiful, and perhaps should be as churches are special public buildings. Over the years, churches often accumulate artworks but these are often overlooked, taken for granted and unrecognised because they have not been gathered together and sensitively displayed as with works in a museum or gallery. Churches have much to learn from galleries and museums which are warm, dry, sensitively lit and containing interpretation of the works displayed. Revd. Ernest Geldart of St Nicholas Little Braxted said that, "God's house ought to be the finest house and most beautiful house in the parish."

How can we determine what is beautiful though? DAC members have a range of relevant experience to draw on in providing advice. Because they have a great deal of joint experience, they have a good idea of what will work well.

Stained glass is particularly tricky because a cartoon cannot depict colours in light or the absence of light. The essential thing is to look at a range of each artist's work. Advice can also be given on framing, lighting etc; again all in consultation with the artist. There is no point in commissioning if too tight a brief is given to the artist. The CHURCHart website has a directory of artists and is a useful source of information. Don't rush into a commission, look around before commissioning a specific artist. Some areas hold open days for artists which it can be useful to attend. Despite all this alot of art in churches is mediocre.

In the nineteenth century, when much church building and restoration was undertaken, it was considered essential that the architect had to have a faith. Artists in earlier times were also devout Christians. However, those who are not Christians can nevertheless produce work that is appropriate for churches. We have a tendency to select artists on the strength of their faith meaning that those in the pool of artists with a faith tend to do more and more work for churches. We should consider that good artists are not necessarily good Christians and good Christians not necessarily good artists.

Grant funding for a catalogue & Study Day

Commission For Mission has recently been awarded funding by the London Over the Border Council to publish a catalogue of our artists, their work, and our activities and services in order to promote the commissioning and placing of contemporary Christian Art in churches as an opportunity for mission in the local community and as a fundraising opportunity for charities (as all commission4mission commissions involve a donation to a charity).

In our application we said that the visual arts can contribute to mission by: speaking eloquently of the Christian faith; providing a reason for people to visit a church; providing a link between churches and local arts organisations/initiatives; and providing a focus around which local people can come together for a shared activity.

The grant will also contribute towards the costs of holding a week-long Commission For Mission showcase exhibition (featuring the work of our artists) and a study day at Chelmsford Cathedral in November on the theme of commissioning art for churches. The Study Day will feature the Bishop of Barking, Dean of Chelmsford Cathedral, DAC Chair and commission4mission artists at Chelmsford Cathedral.