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
Atheism
Belief
Creed
4 min read

Atheism discovers Christianity — just not the inconvenient bits

When sceptics start praising faith for its vibes and values, you know the secular ship is taking on water

Jonah Horne is a priest, living and working in Devon.

A spotlit round table with podcast guests around it.
Steve Bartlett and guests discuss belief.
Diary of a CEO.

Atheism in the age of authenticity and self-expressive secularism is inherently cannibalistic. I’m not suggesting that Dawkins, Harris and Hitchens are losing their minds and devouring one another. But what I am proposing is that atheism, held within today’s philosophical waters, cannot not affirm the thing it so vehemently denies: faith. 

There’s a fascinating moment in a round table conversation with Steven Bartlett (Diary of a CEO) and Alex O’Connor (Cosmic Skeptic). The former presents a case of his friend whose life is radically changed when he becomes a Christian. In some senses it’s a classic despair to hope story. Bartlett concludes by asking O’Connor “what would you say to this friend?” The answer that follows flawed me. O’Conor, an ardent atheist, responds by essentially saying “if these things work, then I’d encourage him to continue doing them.” 

In a similar vein, last year Richard Dawkins professed his faith in cultural Christianity. Dawkin’s well documented and fresh alignment with Christianity is accordingly founded upon its ‘fundamental decency.’ Which just to be clear, according to the biologist, is very unlike Islam. Sadly, his newfound respect hasn’t prohibited New Atheism’s inherent Islamaphobia, it just seems to be masquerading in more sympathetic clothing. 

Amongst these stories and other examples there seems to be a resurgence, or at least a growing respect, in Christian religion and faith. This can also be seen in church attendance and statistics around those professing faith. And whilst Dawkin’s move away from religious degradation towards cultural affirmation can, in some senses, be welcomed; there is an inherent flaw in both his and O’Connor’s perspectives when held in light of Christianity’s central claims. 

For O’Connor, Christianity is seemingly commendable if it leads to self-actualisation, self- fulfilment and a privatised sense of hope. From O’Connor’s atheistic vantage point, the goal of the human is self-actualisation. When confronted by Christianity as a means of this fulfilment, his philosophical stance begins to eat itself. Similarly, for Dawkins, Christianity is a useful tool for the construction and preservation of Western societies. As our country goes through rapid change and our cities exponentially expand in size and multiculturalism Dawkins finds himself affirming the faith he so enthusiastically mocked as a means of security. His atheism inevitably eats itself. 

Whilst different, Christianity in both of these cases is used as a crutch. The faith becomes a prop either for societal betterment or self-fulfilment: it is a reductive perspective that views Christianity as the best truth amongst other truths on offer. It approaches religion as a pick-n-mix sweet shop, with Christianity currently the best flavour. 

However, for Christians, their faith is not a truth amongst other truths, it is the truth. It is not primarily reasoned, discovered or affirmed upon positive reviews but is fundamentally revealed to us and encouraged by a Triune God of love. Reason, positive societal change and personal fulfilment are not bad things in of themselves but when approaching Jesus, they are utterly secondary. This revelation, when fully recognised, reveals O’Connor and Dawkin’s understandings of Christianity as inherently stunted. For O’Connor his affirmation of faith, when positively leading to self-actualisation, would struggle to reckon with St. Stephen’s death found in the book of Acts. The first Christian martyr pleaded for God’s mercy upon his murderers as they launched stones at him. His faith led to incredible courage in the face of intense violence but I’m not entirely sure you could say it led to a widely accepted notion of self-actualisation. For Dawkin’s his affirmation, of Christianity as a pillar for society, should be held in light of the early church’s teachings on radical hospitality, their startling financial generosity and the faith’s ongoing care for the alien or foreigner. This, I would contend, would unsettle the biologist’s divorce of culture and faith. 

The challenge for Christians when confronted by seemingly positive reactions from historically antagonistic voices is to refuse the subtle domestication of the ancient faith. I appreciate O’Connor’s openness to the Christianity and I commend Dawkin’s softening tone. However, their self-defeating and cannibalistic atheism can only affirm Christianity as crutch for their own agendas. They concede defeat but on their own terms. Their vision accepts a partial understanding of following Jesus, an understanding that has been moderated and regulated to fit into their preconceived philosophical and societal agendas. However, for Christians, Jesus is not someone who affirms our predetermined frameworks but instead devastates our self-obsessive tendencies and overwhelms our insecurities with a profound love best revealed in his life, death and resurrection. This realisation is ultimately revealed to us, not on our terms but received freely as a gift. It is given, not grasped or owned, but received.

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