Interview
Art
Attention
Culture
S&U interviews
5 min read

Interview: Alastair Gordon on the artist’s attention

Why the overlooked and everyday capture the creative gaze.

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

An artist sits in front of a board covered in images, canvases and paper.

The careers of artists rarely progress in a simple linear fashion. That was very much the experience of Alastair Gordon in 2024. Gordon is co-founder of Morphē Arts, a painter, art tutor at Leith School of Art and a contributor to Seen & Unseen. He works from his studio in South London and exhibits with galleries and art fairs across the UK, Europe and the US. His experience in the past year opens up fascinating avenues into guidance, focus and prayer. 

He says that: “In many ways, I achieved none of the goals I set for myself last year. I didn’t generate more income in the studio than the previous year, I wasn’t invited to exhibit at the prominent LA gallery I had in my sights, and I didn’t make it into Modern Painters magazine.  

Yet, I had an extraordinary year exhibiting that excelled my expectations. Exhibiting at An Lanntair Gallery in the Outer Hebrides marked my first museum show. I completed my first public commission for a church in South London, and my fourth book, Lost Things, co-written with the wonderful poet Ed Mayhew, is ready for release next month. 

This past year taught me a valuable lesson about not fixating on goals as defined by the art world. Instead, I learned to focus more on what truly matters: the work that really matters and the people I hope to connect with through my painting.” 

One of the surprising opportunities that came to him in 2024 was a commission to paint for a church. He says of this that: “It was a wonderful opportunity to create a painting for All Saints, Wandsworth. It’s unusual to have the chance to make a large work that resonates so deeply with my Christian faith. The painting is centred around the theme of prayer, and I aimed to draw on art historical references to prayer while incorporating the prayers of the current church congregation. 

When I was working on the imagery for 'Prayer of the Saints,' I focused on key ideas related to the prayers of the church congregation—past, present, and future. Commissioned to complete the nine vacant panels in the chancel, I faced a unique compositional challenge. 

The motifs of olive leaves, lilies, white roses, pebbles, and feathers symbolise quiet petitions to God. The central panel features an open Bible to Philippians 4:6, accompanied by a handwritten journal with a sketch of a stained-glass window and a prayer of Augustine, as well as a broken mobile phone that represents a longing to communicate. 

I included images of Wandsworth, Wimbledon, and Battersea to reflect our prayers for the local community, alongside portraits of current missionaries and a world map highlighting our prayers for God’s mission abroad. A portrait of a cherished brother who died young serves as a poignant reminder of our prayers for lament and hope.” 

As a result, he says: “The painting features flowers like white roses and lilies, which are often observed in Western art as symbols of prayer, alongside images of the local community, held in reverence by the congregation and the missionaries they support worldwide.” 

The philosopher Simone Weil suggested that attention, taken to its highest degree, is the same as prayer. Gordon says that this insight on attention and prayer resonates deeply with his experience as an artist: “When I engage fully in my work, that heightened attention feels like a form of prayer.” 

An altar is surrounded behind by a curved wall displaying art work on panels.
Prayer of the Saints, Wandsworth

 

Looking at the overlooked is central to my artistic practice. I feel a resonance with artists of the past who have focused on the everyday moments.

His latest book project, a collaboration with Ed Mayhew, touches on similar themes: “It started with a glimmer. Two years ago, Ed sent me a poem and asked if I would like to create a painting in response. It was the most beautiful poem and an enticing invitation. I made a painting and sent it back to him. He replied with another poem, and I responded with another painting. This back-and-forth continued, and before we knew it, we had created 25 poems and paintings in collaboration.  

The connection between words and images was foremost in our thinking for this project. I didn’t want to illustrate so much as to respond to Ed’s words through paint and drawing. Similarly, when Ed returned my paintings with words, he aimed not so much to describe but also to converse. Our hope was to create an equal exchange between word and image, allowing each to complement and enhance the other. 

A book cover reads 'Lost Things'.

Lost Things is a precious collaboration. We are very grateful for this partnership and the unique book it has produced. Lost Things explores all the things that go missing in life, the hopes we have for their return, and the love we share for the overlooked. This book explores the oddities that have been misplaced or forgotten—strange objects that wash up on the shore, appear in your sock drawer, or disappear into the loft for decades. It also reflects on the people we have lost or forgotten. In this way, the book takes a playful approach while also pointing toward deeper truths. 

Paying attention in this way to what others have overlooked or lost seems very much the task of artists: “Looking at the overlooked is central to my artistic practice. I feel a resonance with artists of the past who have focused on the everyday moments that might otherwise go unobserved. Most often, it’s the mundane objects that have become so familiar that they almost become invisible. 

Focusing on details—colours, shapes, emotions, and often overlooked objects—allows me to connect with something greater. It feels like speaking in tongues; the act of creation transcends words and expresses something less tangible. At times, the meaning isn’t clear, and I need to wait for it to be revealed.” 

All this would seem to have been very much the case in the past year, where unanticipated opportunities led to wonderful work and exciting new projects.

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Article
AI
Belief
Culture
Mental Health
Pride
4 min read

Are AI chatbots actually demons in disguise?

Early Christian thinkers explain chatbots better than Silicon Valley does

Gabrielle Thomas is Assistant Professor of Early Christianity and Anglican Studies at Emory University

An AI image of a person stood holding a phone with a bubble above their head, below them is a chatbot-like demon with a tail
Nick Jones/Midjourney.ai.

AI Chatbots. They’re here to save us, aren’t they? Their designers argue so, fervently. There’s no doubt they are useful. Some, like EpiscoBOT (formerly known as ‘Cathy’), are designed for those asking ‘life’s biggest questions. 'Our girlfriend Scarlett’, is an AI companion who “is always eager to please you in any way imaginable.”  So why not defend them?  

 They offer companionship for the lonely, spark creativity when we run on empty, and make us more productive. They also provide answers for any and every kind of question without hesitation. They are, in short, a refuge. Many chatbots come with names, amplifying our sense of safety. Names define and label things, but they do far more than that. Names foster connection. They can evoke and describe a relationship, allowing us to make intimate connections with the things named. When the “things” in question are AI chatbots, however, we can run into trouble.  

According to a study conducted by researchers at Stanford University, chatbots can contribute to “harmful stigma and dangerous responses.” More than this, they can even magnify psychotic symptoms. The more we learn, the more we are beginning to grasp that the much of the world offered by AI chatbots is an illusory one.  

Early Christian thinkers had a distinct category for precisely this kind of illusion: the demonic. They understood demons not as red, horned bodies or fiery realms, but as entities with power to fabricate illusions—visions, appearances, and deceptive signs that distorted human perception of reality. Demons also personified pride. As fallen angels, they turned away from truth toward themselves. Their illusions lured humans into sharing that pride—believing false greatness, clinging to false refuge. 

 Looking back to early Christian approaches to demonology may help us see more clearly what is at stake in adopting without question AI chatbots. 

  

According to early Christian thinkers, demons rarely operated through brute force. Instead, they worked through deception. Athanasius of Alexandria (c. 296–373) was a bishop and theologian who wrote Life of Antony. In this, he recounted how the great desert father was plagued by demonic visions—phantoms of wild beasts, apparitions of gold, even false angels of light. The crucial danger was not physical attack but illusion. Demons were understood as beings that manufactured appearances to confuse and mislead. A monk in his cell might see radiant light and hear beautiful voices, but he was to test it carefully, for demons disguise themselves as angels. 

Evagrius Ponticus (c. 345–399), a Christian monk, ascetic, and theologian influential in early monastic spirituality, warned that demons insinuated themselves into thought, planting ideas that felt self-generated but in fact led one astray. This notion—that the demonic is most effective when it works through appearances—shaped the entire ascetic project. To resist demons meant to resist their illusions. 

 Augustine of Hippo (354–430) was a North African bishop and theologian whose writings shaped Western Christianity. In his book The City of God, he argued that pagan religion was largely a vast system of demonic deception. Demons, he argued, produced false miracles, manipulated dreams, and inspired performances in the theatre to ensnare the masses. They trafficked in spectacle, seducing imagination and desire rather than presenting truth. 

 AI chatbots function in a strikingly similar register. They do not exert power by physical coercion. Instead, they craft illusion. They can produce an authoritative-sounding essay full of falsehoods. They can create images of people doing something that never happened. They can provide companionship that leads to self-harm or even suicide. Like the demonic, the chatbot operates in the register of vision, sound, and thought. It produces appearances that persuade the senses while severing them from reality. The risk is not that the chatbot forces us, but that it deceives us—just like demonic powers. 

Using AI chatbots, too, tempts us with illusions of pride. A writer may pass off AI-generated work as their own, for example. The danger here is not simply being deceived but becoming complicit in deception, using illusion to magnify ourselves. Early Christian theologians like Athansius, Evagrius and Augustine, warned that pride was the surest sign of demonic influence. To the extent that AI tempts us toward inflated images of ourselves, it participates in the same pattern. 

When it comes to AI chatbots, we need a discipline of discernment—testing whether the images and texts bear the marks of truth or deception. Just as monks could not trust every appearance of light, we cannot trust every image or every confident paragraph produced by the chatbots. We need criteria of verification and communities of discernment to avoid mistaking illusion for reality. 

Help is at hand.  

Through the ages, Christians have responded to demonic illusions, not with naïve credulity nor blanket rejection of the sensory world, but through the hard work of discernment: testing appearances, cultivating disciplines of resistance, and orienting desire toward truth.  

 The Life of Antony describes how the monk confronted demonic illusions with ascetic discipline. When confronted by visions of treasure, Antony refused to be moved by desire. When assailed by apparitions, he remained in prayer. He tested visions by their effects: truthful visions produced humility, peace, and clarity, while demonic illusions provoked pride, disturbance, and confusion. We can cultivate a way of life that does the same. Resisting the illusions may require forms of asceticism: fasting from chatbots and cultivating patience in verification.  

Chatbot illusions are not necessarily demonic in themselves. The key is whether the illusion points beyond itself toward truth and reality, or whether it traps us in deception.  

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