Article
Art
Belief
Culture
4 min read

How the curious react to creativity in a cathedral

The moved, confused and impressed.

Stuart is communications director for the Diocese of Liverpool.

An art structure of a circular peak sits on the chequered floor of a cathedral.
Monadic Singularity, Anish Kapoor, Liverpool Cathedral.
Rob Battersby.

In the summer of 2024 thousands of visitors came to Liverpool Cathedral and encountered the challenging artwork of celebrated international artist Anish Kapoor. In his first exhibition in Liverpool for over 44 years these works were displayed as part of our centenary celebrations.  

They caused a stir. Some were moved, some were confused, many were impressed but there were not many who entered our building that did not have an opinion.  As a surprise to us we did not get many questioning why we allowed these pieces into the sacred presence of a cathedral church disrupting the places where worship occurs. Most recognised that this carefully curated exhibition used its artwork to speak to both the building and the pieces themselves. 

But we must ask ourselves the question what is the point? What does a vibrant worshipping community such as Liverpool Cathedral stand to gain? Our architecture is impressive, you can’t miss us in the city so why rock the boat by bringing in work from an artist of great renown and great controversy? 

 

The creativity comes through the careful curation of work that speaks to the human condition and ultimately our relationship with God.

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The answer surely lies in two places.  

Firstly, there’s the long tradition the church has in using art to tell Jesus’s story to the world. Visit any church and you will likely see a stained-glass window impressively depicting a biblical story like a medieval Banksy. Our worship services can be seen as theatre and performance with choreographed liturgical movements, stunning choral pieces or magnificent contemporary music. The communion prayer acts like a Shakespearian soliloquy retelling the dramatic story of Jesus’s death and resurrection. Art and theatre are intermeshed with the church. Liverpool Cathedral has a number of permanent and temporary art works including work from Elizabeth Frink and our iconic Tracey Emin neon light.  

Secondly, like most cathedrals in the modern age Liverpool Cathedral walks the precarious path between commerciality and spirituality. To be sustainable without regular governmental support we must raise substantial money far beyond the reach of the traditional giving of a congregation. We need to be creative, we need to do things, put on events, host exhibitions to reach beyond the bounds of a traditional church audience and connect with a wider public. 

Liverpool Cathedral has done this for a number of years, welcoming Luke Jerram’s Museum of the Moon before hosting his Gaia exhibition and then starting a long association with Peter Walker through Peace Doves, Identity and the very popular Light Before Christmas shows. These are not chosen simply to draw in the masses. That would be short-sighted, counterproductive and create the false narrative that cathedrals are more interested in money rather than the worship of God. 

In Liverpool our attempts to attract people to these exhibitions are predicated on the notion that whatever a visitor's motivation when they arrive they will encounter us and through us encounter God. Last year 31,000 people saw our Christmas Sound and Light show and as a result that led to greater numbers coming to our Christmas Eve services. People want to make the connection, we need to help them in that. 

If a cathedral is to use this work successfully it must help us and our visitors ask searching questions. Sure it is great fun to have a picture with one of these exhibits and most of what we do is deliberately Instagramable. However, the creativity comes through the careful curation of work that speaks to the human condition and ultimately our relationship with God. The museum of the moon and Gaia provoked many interesting conversations and debates about the relationship between science and faith alongside the age-old question of how creation came about.  

Peace Doves brought together a post covid community trying to come to terms, both individually and collectively, with the impact of the Lockdown years. In bringing together a piece of community art we were able to focus minds on loss, healing and hope. 

It isn’t direct, it isn’t overt but we are also not shy of the fact that we are a cathedral and we do God.

So, to Anish Kapoor. When he was Dean of our cathedral, Justin Welby, challenged us to think of the cathedral as a safe place to do risky things in the service of God. Many could say that hosting an exhibition by Anish Kapoor encapsulates that risk. Challenging, controversial and provocative his work attracts thought and creates a stir. The exhibition stands firmly in our tradition of using art to ask questions. The introduction to the exhibition booklet states that the exhibition encapsulates “the artist’s exploration of the physicality of the human body, the title – Monadic Singularity – reflects the interrelation of human existence and the universe” yet again showing a connection to God and our faith. 

It isn’t direct, it isn’t overt but we are also not shy of the fact that we are a cathedral and we do God. People came to the Kapoor exhibition for a multitude of reasons. We had fine art students able to contextualise, theorise and talk sagely about Anish Kapoor and the meaning behind his work, we had families with young children enjoying being able to run around and interact with the works, we had people completely bemused or making wild guesses as to what it all meant. That gives an opening to help us have the conversation about the God that means so much to us and how we interpret this art in the light of our faith. 

Cathedrals are places of creativity and need to remain that way. Cathedrals have the opportunity to bring many people through their doors every day. Art can do that and as we have seen since mediaeval times can help us and others understand God and their place in life. 

Article
Attention
Creed
Education
Psychology
6 min read

We miss so much when we only see what we are looking for

Explaining why we don't see the unseen - with the help of a gorilla.
A blurred image of a blindfolded man.
Manuel Bonadeo on Unsplash.

In a thriving Pentecostal Church on an English city street, a room full of worshippers are singing, clapping, dancing and throwing their hands in the air. The preacher cries “Come, Holy Spirit!” and there are cries of “Amen!” and “Yes Lord!” One person has tears on their cheeks.  

A few doors down, a few dozen Anglicans also gather. Heads bent over their liturgy books, there is a hum of responses and an air of reverence. “Give us the joy of your saving help: and sustain us with your life-giving Spirit.” The altar candles flicker as the community settles itself into pews. The Holy Spirit is no less present to these worshippers, although they respond in a completely different way.  

Both churches share one creed, in which they commit to their belief in God as the source of all things, seen and unseen. Whilst Pentecostal theologies tend to focus on the observable and unpredictable signs of the Spirit at work, many Anglicans would describe the Spirit in terms of an inner experience, perhaps one that is cognitive rather than physical. But either way, Christians share one belief – that God is present in the world, and we call that the Holy Spirit.  

However, there are also hundreds of people who walk past both of these churches, week by week, who would never dream of setting foot inside. Many of them will think that anyone who believes in God is deluded or deceived. Such rationalist thinkers often have a strongly monist view of the world, in which everything, even mysterious things such as human consciousness and perception of non-physical entities, must have a physical or biological basis. As Ebenezer Scrooge says to the apparent ghost of Marley in Charles Dickens’ book, A Christmas Carol, “You may be an undigested bit of beef, a blot of mustard, a crumb of cheese, a fragment of an underdone potato. There's more gravy than of grave about you, whatever you are!” 

It is almost impossible to convince someone who hasn’t had a first first-hand experience of God that anything like the Holy Spirit exists. Many nay-sayers, I suspect, quietly (or maybe not so quietly) believe that their unbelief is because they are more rational and maybe even more intelligent than those who get excited by such things. But there is another possible explanation for why some people apparently cannot, or will not, see the unseen.  

The British education system is heavily orientated towards STEM. Even when more creative subjects such as literature find their way into the syllabus, they are often studied in a rather dry and analytical way. Notwithstanding the efforts of the occasional maverick teacher, I recall much time spent learning how to identify the iambic pentameter of Shakespeare, and little (if any) time learning to articulate how his sonnets made me feel. Such a system turns out good scientists, but it may be that in doing so it trains our young people out of being able to perceive a whole raft of things which are arguably just as important to human flourishing.  

The world around us contains significantly more sensory input than our minds can process, so we simply don’t pay attention to most of it. 

A “selective attention test” can quickly prove this point. I did one recently with a room full of psychology undergraduates, almost all of whom had identified as monists. “Since you guys are the brightest and the best,” I simpered “let’s do a little intelligence test. Apparently only five per cent of the general population get the answer right to this puzzle, but in this room, I expect the success rate will be a little higher…”  

Having primed them by flattering their egos, I proceeded to show them a video called “The Monkey Business Illusion”, designed in 2009 by scientists Christopher Chabris and Daniel Simons. During the short film, a group of people pass basket balls to each other, and viewers are asked to count how many times the players wearing white shirts pass the ball. It seems simple enough, and when the film ended, I asked the students how many counted the right number of passes. Almost every hand in the room went up. No surprises there.  

Then I asked the more important question – who saw the gorilla? There was a smattering of laughter, and this time only about half of the hands went up. Meanwhile, the other half of my students were looking around at their peers, utterly confused… 

But it was true. In “The Monkey Business Illusion”, a person in a 6ft gorilla costume walks right across the middle of the scene, weaving through the players in the game. However, because most viewers are intently focussed on watching the players in white, they simply don’t perceive it. You can try this for yourself - the video I’m talking about can be found easily on YouTube, and if you follow the search term “selective attention test” there are many others like it.  

The material point is that the world around us contains significantly more sensory input than our minds can process, so we simply don’t pay attention to most of it. If you pause for a moment right now, you might notice that there is the hum of a heater in your room, or the noise of traffic outside, or the smell of an air freshener, or that a piece of your clothing that is too tight – things you were simply not aware of until I pointed them out. It’s common that we don’t perceive things until something else makes us think that they are important. If someone tells you that your house might have structural damage, you will suddenly start to notice every creak that comes from your walls and ceilings, even though those creaks have probably been happening for years.  

As social beings, we can be easily conditioned into paying attention to certain things and ignoring others. If I tell a group of students that intelligent people are highly attentive to the players in white shirts, I increase the likelihood that they simply will not notice a gorilla.  

There is good research to show that children, even in our modern and secular society, are inherently spiritual – most young kids believe in God, or gods, fairies and the existence of many things unseen. But this is not celebrated in our STEM focussed education system, wherein young minds are highly conditioned to let go of such “irrational” beliefs and trust in the full explanatory power of science. It is so effective that, by the time they get to my classroom at university, I’ve got little hope of persuading any of my monists that there was a 6ft gorilla without showing the video again and letting them see it for themselves.  

But there are always some people who are willing to challenge the idea that Marley was just an undigested bit of beef. There are always some people who attend churches of one type or another, or practice other forms of spirituality and religion. Some pray, some meditate, and many take part in rituals. This trains them in what anthropologist Tanya Luhrmann calls “micro-processes of attending”, leaving them more ready to perceive spiritual things instead of screening them out of their conscious awareness. How they respond might depend on preferred tradition – dancing, liturgy, or a little bit of both. But all agree that there is something going on that is unseen and important.  

Many STEM educated, highly rational and fully committed monists no doubt think that those who attend churches are deluded and deceived into perceiving unseen things are simply just not there. These nay-sayers have been taught, implicitly and explicitly, that it is more intelligent to believe in the all-explanatory power of science. But perhaps it is they who have been deluded and deceived? As the Monkey Business Illusion demonstrates, if you flatter someone’s intelligence enough, it becomes entirely possible to hide a 6ft gorilla in plain sight.  

Watch the Monkey Business Illusion

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