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 The painting is centred around the theme of prayer, and I aimed to draw on art historical references to prayer while incorporating the prayers of the current church congregation.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
Character
Culture
Idolatry
Psychology
6 min read

We need a sense of shame - but need mercy even more

Shame may be necessary, but only if it can be defeated

Belle is the staff writer at Seen & Unseen and co-host of its Re-enchanting podcast.

Frankstein stares our from his covered face.
Jacob Elordi plays Frankenstein's monster
Netflix.

I’ve been thinking about the nature of shame a lot recently. Both professionally and personally, it’s a topic that is demanding my attention. It’s following me around, insisting that I look it in the eye, shoving and nudging me – taunting and tempting me to finally snap and wrestle it to the ground. I guess that is the very nature of shame, isn’t it? It’s always so stubbornly there.  

I’ve also noticed that it seems to have elbowed its way into cultural conversations; it’s been putting a real PR shift in, seeking rehabilitation in public discourse.  

The actor, Jacob Elordi, was recently interviewed by the Wall Street Journal. Kind of interesting, kind of not. The sliver of it that really caught my attention was when the interviewer asked Jacob,  

‘What’s one lost art that you wish would come back in style?’  

To which Elordi replied,  

‘The art of shame. I wish people could experience shame a little heavier’.  

Gosh.  

It makes sense that this was Jacob’s answer; the interview was conducted to promote Frankenstein, Guillermo Del Toro’s new movie in which Jacob Elordi plays Frankenstein’s monster. So, I get it. He’s been consumed with what components make up a monster, endeavouring to literally turn himself into one. He’s been ruminating on the recipe of evil, and perhaps he’s found one key ingredient – shamelessness. Maybe Jacob, having dwelt on such, has subsequently looked out at the not-so-fictional ‘monsters’ wreaking havoc and has diagnosed the same thing, a distinct lack of shame.  

It's a solid thesis.  

It reminded me of another recent interview, this one with the acclaimed author, Zadie Smith. She said,  

‘Shame gets a bad rap these days. I think it’s quite a useful emotion, corrective on certain kinds of behaviour… I assume people – including myself – are just deeply, deeply flawed. And so, shame is usually quite appropriate on a day-to-day level… shame is a kind of productive thing to create change. I guess I do believe that. I know it’s definitely a Christian emotion, that’s why it’s so out of fashion. But I always thought it quite productive in the gospels, that idea that you assume that you are entirely in sin. I always assume that.’  

I half agree with both Jacob and Zadie. In a way, I’d be a fool not to. Not to mention, proof of their thesis. 

I cannot deny that I am, as Zadie points out, deeply, deeply flawed. There is a crack in everything I do, a fracture in all my best intentions. And yours, too, I’m afraid (but I have a feeling you know that). There is a brokenness to us, a breaking-things-ness. To each and every one of us, ‘hurt’ is both an adjective and a verb – something we feel and something we do. The things I want to do, I never manage. The things I don’t want to do, I seem to manage every day. I am falling short, missing the mark – I am so fallibly human.  

To acknowledge such is not only obvious, nor is it simply ‘useful’, as Zadie suggests. It’s inherently spiritual, it’s paradigmatic. 

Last summer, I hosted an event at which Francis Spufford, one of my most cherished wordsmiths, playfully quipped, ‘I’ve heard original sin (the notion that we are, as Zadie notes ‘entirely in sin’) described as one of the few theological propositions which you can actually confirm with the naked eye’. ‘Sin’, Tyler Staton similarly writes, ‘is simultaneously the most controversial idea in Christianity and the one most universally agreed upon’.  

There’s something deeply wrong with the world. We all know that.  

Which, presumably, is what Jacob Elordi is getting at – he’s observing bad people not feeling bad enough about the bad that they do, or worse still, the bad that they are. A healthy dose of shame is the medicine that this world needs, he suggests. 

Oh Jacob, I sympathise with that. The thing is, I have a hunch that the presence of shame makes as many monsters as the absence of it.  

And Zadie, I wonder if shame births as much destruction as it does ‘correction’.  

While I agree with you both that, in a world as broken as ours, shame needs to exist in some form or another, it also needs an antidote. It’s a dangerous substance; toxic and destructive. Don’t let it fool you, don’t be over-generous to it – shame may (in its most moderate and appropriate forms) be an acknowledgment of the disease, but it is not the medicine. It could only ever be ‘useful’ if it is, ultimately, defeatable.  

At least, that’s my – admittedly very Christian – conviction. That’s my take. I can’t pretend that it’s not as theological as it is sociological in its underpinnings. 

I’m relatively new to the liturgical aspects of my own faith tradition (that is, the formalised scripts, actions and rituals that have long fuelled religious experience) , so I have the pleasure of not being numb to them. When I read the ancient words of ancient prayers, they shoot right through me, particularly these ones:  

‘Almighty God, our heavenly Father, we have sinned against you and against our neighbour in thought and word and deed, through negligence, through weakness, through our own deliberate fault...’ 

Ouch.  

As I read those words, week in and week out, my brain creates a helpful montage for me – whirring through the countless ways in which I have failed – in what I think, what I say, what I do. I’m confronted with the ways that my breaking-things-ness has leaked out of me through my negligence, it’s spilled out of my weakness, the force of it directed at others through my own deliberate fault.  

Oh yes, I’m well acquainted with the emotion of shame.  

But the only thing productive/appropriate/corrective about falling on my face in shame, is that there is a mercy that can scoop me up. It’s not hopeless, you see? There’s a mend-ability. There’s an antidote to shame; there’s a balm for its burn. There’s a bewildering love that banishes shame from within me – there’s a rescue route from its toxic spiral.  

The moment that shame is acknowledged, its presence verbalised, its power felt – is the very moment it needs to be neutralised. It cannot fester, it cannot be afforded the loudest, nor the last, say.  

And so, to Jacob Elordi’s interesting wish – that ‘people could experience shame a little heavier’, and to Zadie Smith’s fascinating thesis that ‘shame is a kind of productive thing to create change’- I hear you. I see what you’re getting at. But I can only ever wish people to experience the heaviness of shame if it means that they are more sensitive to the feeling of it being undeservedly lifted off them. That’s where change happens. That’s the medicine.  

So, Jacob and Zadie, let’s agree to half-agree on this one, shall we?  

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