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
Belief
Creed
Leading
Politics
5 min read

Let's keep hope weird, Zack

Amid growing grief for the future, the Greens' leader is calling for 'ordinary hope'

Lauren Westwood works in faith engagement communications for The Salvation Army.

Zack Polanski walks down an alleyway
Zack Polanski returns to Manchester.
The Green Party

The recent Green Party’s political broadcast has been praised for its emotional clarity, moral urgency and a call to action that has seen party membership surge.  

Looking down the lens, recalling his years growing up in the north of England, party leader Zack Polanski sighs,  

“There was something in the air… a kind of ordinary hope.” 

As he walks through a typical British city, filmed in Manchester, lined with terraced houses and bright-white lights beaming over takeaway shops and industrial bins, he diagnoses the collective hopelessness of a ‘people too tired to fight, to sleep.’ 

In just under four minutes, Polanski disarms objections to his cause with a sensitive, poetic script. He opens by referring to the common experience of a satisfying bowl of cornflakes – before plainly illustrating the socioeconomic injustice facing the everyman. He then makes the case for fair wealth taxation, and closes with the cheery challenge:  

‘Let’s make hope normal again.’ 

It’s a compelling appeal that resonates with those weary of cynicism. But what does it actually mean? 

To be clear, I call this to question because I desperately want good things for our country. Warm homes, clean air, safe streets and an NHS that works for all – I believe these things should be normal. But I’m not sure I want to normalise hope. 

Because real hope is weird. 

Hope is not to be confused with optimism, or good prospects, or a positivity about the future reserved for the privileged. It’s not increased with social mobility or sitting comfortably in a five-year plan. Hope is not even the belief that things will get better. Real hope is much truer than that. It is a deep knowing that all shall be well, even when that seems foolish – a glance through the ancient literature of the Bible points to hope as singing in a prison cell, relief in the wilderness, resurrection in the face of crucifixion. 

As NT Wright, the theologian, puts it: ‘Hope is what you get when you suddenly realise a different worldview is possible, a worldview in which the rich, the powerful, and the unscrupulous do not after all have the last word.’ This kind of hope doesn’t waiver with the housing market, interest rates, or inheritance tax. It’s not the result of good policy or strong polling. It’s the stubborn belief that love wins – and has, in fact, already won – even, or especially, when it looks like all is lost. 

This is where Polanski’s got it right. There is a present and growing grief for the future. Across the UK, millions feel disengaged, disrespected and undervalued. Distrust of politicians, division in communities and loss of faith in the systems supposed to be for our benefit seem to be at an all-time high. 

Polanski’s call to hope comes at a time when a redeemed order seems impossible or, at best, several generations away. But, instead of accepting the kind of ‘ordinary hope’ Polanski experienced back in his youth, the answer to our deepest longing lies in realising we need something extraordinary to happen and knowing that we’re allowed to believe that it will. 

We don’t need to be desensitised to hope – we need the opposite. We need to be reawakened to everyday glimmers of redemption – the neighbour who pops by for sugar and stays for a safe conversation, the health worker who acknowledges a former patient with a grateful smile, the family whose fear is soothed by the kind gesture of an elderly white neighbour – and recognise our share and our part in bringing it on, believing there is yet more and better to uncover. 

Polanski is incredibly perceptive in his address to the concerns of the hard-working plumber and the fledgling hair salon owner, nervous that their hard earnings and ambition will be cut short: ‘I wondered, “Why did they think I was talking about them?” And now, I get it. It’s because it’s too hard to picture.’  

Hope, too, is hard to see. A better world is hard to imagine. Though Polanski is advocating for a public reform and reimagination of what it means to be taxed, our souls are capable of the sudden realisation that another way is possible. We can experience life-altering revelation that leads to fresh vision, both for what is seen and for the yet unseen. 

For the Christian, hope is not some far-out abstract concept, but a gift made real through belief in the life, death and resurrection of Jesus Christ – a Middle Eastern man who walked the earth two thousand years ago, held no title, had no place to lay his head, and called himself the Way, the Truth and the Life. See? Real hope gets weird. 

Instead of being content to accept an ordinary hope – made small, palatable and unremarkable – we can embrace hope as it was designed. A liberating reality that brings steady assurance to every thought, every reaction, every decision and, yes, every vote. This confidence comes not because we are sure of our own rightness, but precisely because we are not. We submit to its mystery because a hope that we can control, mediate and measure will never lead to the transformation we most long for. 

Do I long to see an increased hope for the future across the UK? Of course. But do I believe we should ever grow accustomed to hope? I don’t think so. We need contagious hope – wild and holy and strange, anything but normal. 

Tax the super-rich so that children can eat, parents can sleep, and ordinary people can be lifted out of extraordinary poverty, if you want – but let’s keep hope weird. 

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