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. 

Interview
Belief
Creed
5 min read

Water from the well: a moment with Rowan Williams on Nicaea

A chance encounter with the former Archbishop led to a profound reflection

Hal is a theologian and writer based in London.

Students sit on the grass in front of a fountain.
Pontifical University garden.
Pontifical University.

The gardens of the Pontifical University of Saint Thomas Aquinas near to the Vatican are a place of quiet reason, where the mind is trained to seek the fundamental truths of existence. But on a sweltering day approaching summer, the temperature was 31 degrees, and reason had given way to a more immediate need: a glass of water. 

It was by the water-cooler, tucked behind a shade-giving tree, that I found him: Lord Rowan Williams of Oystermouth, the former Archbishop of Canterbury, a man whose theological depth is matched only by a palpable, gentle presence. Perhaps it was the heat, or a moment of recklessness, but I asked him for an interview. To my delight, he agreed. 

The following day, we met. His recent keynote address, ‘Nicaea, the New Creation, and the Body of Christ,’ had laid the groundwork. What followed was not a simple Q&A, but a deep, meandering conversation—a drawing from the well of a tradition that is both ancient and startlingly immediate. 

The grammar of divinity 

How do you prepare to speak on a Council with 1,700 years of commentary? For Williams, the entry point is not the what, but the why. 

“I started by asking - what was the question Nicaea was trying to answer?” he began. “This is the question Nicaea was trying to resolve: How do we say, at the same time, that Jesus really is the embodiment of the eternalism of God… and that he genuinely opens up for us a new relationship with the Father?” 

This is what Williams calls the “deep grammar” of the Council—a phrase he embraces with enthusiasm. The Creed, he suggests, sketches a grammar for divinity itself. It asserts a belief in one God, “but the kind of oneness that God is, is a oneness that's always fertile or productive.” 

This productive, self-giving life—kenosis—is not just who God is, but the kind of life we are called to participate in. “God is always reflecting itself in word and spirit… boiling over into creation - that's what God is!... a life that is both self-giving (kenotic) and productive… a life that brings others alive.” 

The saints, in their radical openness to this “kenotic presence,” become conduits of this new creation. “Rather mysterious things happen,” Williams notes, “when you allow the act of God to go through you.” 

The magnetic quiver 

But how do we, in our everyday lives, tune into this deep grammar? Williams points not to the esoteric, but to the ordinary acts of faith that structure our existence. 

“We’re called on, first of all, to wake up to the fact that in our ordinary lives we're in fact all the time making acts of faith - the faith that what I say to you and what you say to me can be more or less understood... the faith that human commitment and love are significant and worth investing in.” 

This trust, this “connectedness,” is a slow “peeling open of human identity to its depths.” It is a universal experience, a “magnetic needle” in creation that “quivers northwards... quivers Godwards. We can't quite keep it quiet.” 

He offers a wry, characteristically British illustration: “one of the great mysteries in British society is that British people are much nicer than the Daily Mail thinks they are!” 

This inherent pull, this quiver, is what the doctrines of the Creed are meant to protect and describe. The dense, pub-unfriendly language of “consubstantial with the Father” is not an abstract puzzle but a map of a reality we are already, however faintly, experiencing. “The Holy Spirit draws us into the flow of life,” Williams says. “The Creed keeps us aware of it… it's the shape and form we’re growing into.” 

The breath of the Spirit 

This brings us to the ancient rift of the filioque clause—the Western addition to the Creed stating the Spirit proceeds from the Father “and the Son.” Is it a fatal block to unity or a matter of semantics? 

For Williams, the scriptural reality is paramount. “Jesus says to his disciples I will send you the Holy Spirit who proceeds from the Father. Jesus is saying - you will be receiving a gift from me, which is given me by the Father, to give to you.” 

The key, he suggests, is in the tangible action: in John’s Gospel, the resurrected Jesus breathes on his disciples. “Jesus brings the Spirit into action, into full tangible action in human history.” The Spirit proceeds through the Son into the world. At this point, theology reaches its limit. “I’m quite happy to grin feebly and shrug my shoulders...I dunno!” he laughs. “What matters is that the energy of new life and vision is given.” 

And this energy, he insists, “goes with the grain of our humanity.” One can almost imagine a divine sigh: “For Heaven’s sake... just wake up to what you are.” 

He finds the perfect image in the parable of the Prodigal Son, who, in the depths of his exile, “came to himself.” It is a “paradigm moment” of das Ereignis—a Heideggerian concept for an event of appropriating, of “coming into one’s own.” “There is a self to come to,” Williams affirms, “and a home to go to.” 

A unity already given 

Will the divided churches ever find structural unity? At times, he admits, we seem to be drifting further apart. But Williams’ focus is on a deeper, prior reality. 

“It helps to be aware that there's a unity given already. We're not quite sure how to embody it. We're not quite sure how to organise it. But there's something there.” 

Finally, reflecting on the Council itself, he dismisses any notion of Nicaea as a merely political project for a fractious empire, though Constantine’s desire for harmony was a factor. He paints a visceral picture of the attending bishops, as described by Eusebius: men with missing hands, gouged eyes, and the scars of persecution. When Constantine greeted them, “he kneels down and kisses their wounds.” 

“They're not just purple cassocked prelates sitting in armchairs! Their faith has been through the fire!” 

This is the well from which this Creed was drawn. It is a creed of the persecuted, a truth forged in fire. A truth, as Williams learned from Pakistani Christians this year who heard the story of Nicaea and simply said, “we know about that,” that is known in the bones before it is understood in the mind. It is the water that waits, cool and deep, for any who come thirsty. 

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