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 The painting is centred around the theme of prayer, and I aimed to draw on art historical references to prayer while incorporating the prayers of the current church congregation.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
Belief
Community
Culture
Music
1 min read

Oasis: it's all gone a bit biblical at this summer’s musical moments

We’re reaching for some ancient vocab to describe our experiences together

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

A silhouette of a musician holding up shakers.
'Cast no shadow'.
x.com/oasis

A biblical narrative keeps whirring around my mind.  

In the first century, Paul – planter of churches, writer of letters, spreader of the way of Jesus – finds himself in Athens, the Graeco-Roman city where meaning is made. He wanders around this city, soaking up its culture, noticing its priorities, watching its habits. But he doesn’t do so silently. Paul pulls out his usual party trick; yelling about Jesus here, there, and pretty much everywhere, eventually catching the attention of the local philosophers. They want to hear more, and Paul finds himself thrown in front of the Areopagus, the meaning-making council at the heart of the meaning-making city. The cultural epicentre of the Graeco-Roman world, one could argue.  

Never one to miss an opportunity, Paul gets to his feet and unleashes a monologue for the ages, kicking off with this line: ‘People of Athens! I see that in every way you are very religious…’ 

Quite the opener, isn’t it? 

It’s that opening line that my imagination seems to have gotten snagged on.  

There is so much going on around me – right here and right now, in 2025 - that makes me want to find a place into which I can scream the exact same thing. There and then, here and now, I can see that in every way we are very bloomin’ religious.  

What Paul and I don’t mean by such an assertion is that everyone our contexts are signed up – hook, line, and sinker - to an organised religion. Such an assertion would be silly, considering the data tells a different story. What I’m pretty sure Paul meant, and what I know I mean is this – in every kind of way, people are searching for that which is bigger, deeper, truer than ourselves. We are directing our attention, our energy, our worship in certain directions. We are seeking ritual and practice, wrapping ourselves in stories that give meaning to our day-in-day-out experiences, stories that tie our lived reality into something that transcends it. We’re grasping for a world that is more full of beauty, truth, and sense than we imagined; pledging allegiance to our inkling that there is something more. Yup. In every way, we, the good old human race, are very religious.  

Paul said it with his chest then, I think he’d say it with his chest now. 

There are a hundred different places that I could go in order to pluck some ripe evidence for my theory – but for now, my evidence of choice is the language being used to describe the long-awaited Oasis reunion.  

‘Biblical’ 

That’s the word being used – in national headlines and personal Instagram captions alike, ‘biblical’ is the adjective of choice.  

Isn’t that strange?  

I don’t really know what people mean by it, to be honest. According to my research, they’re taking their cue from Liam Gallagher himself, who was the first to describe the band as such. Stay humble, Liam.   

Is using ‘biblical’ as the descriptor of choice a reference to the reconciliation of warring brothers? That’s certainly a biblical motif, which I guess is being played out in real-time, witnessed by those who could afford the £400 ticket (no, I’m not bitter). Is it implying that this event is so monumental, it should be canonised somehow? Written about? Memorialised? Poured over for millennia to come? Or is it a reference to the fact that what we are witnessing is the fulfilment of rumours, prophecies, hopes and expectations?  

Maybe it’s all of the above, maybe it’s none of the above. It doesn’t really matter. What matters, at least to me, is that people are wanting to express that these gigs are more than the sum of their parts; there’s something transcendent about them, something awe-inspiring, wonder-infusing. Something that feels, dare I say it, religious about them.  

It gets even more interesting, because such sentiments aren’t reserved for the reunification of the Mancunian brothers.  

I’m still stunned, curious to the point of distraction, about the fact that we – in a secular, materialist, rational culture – cannot help but stretch toward spiritual language. 

In a podcast episode recorded in the days leading up to this year’s Glastonbury festival, the DJ and broadcaster, Annie Mac, described the event as ‘communion’, explaining that ‘when you don’t go to church, you need to get that somewhere.’ On the flip side, in the days following the festival, another DJ and broadcaster, Miquita Oliver, teased the endless Glastonbury posts that were filling up her social media feeds – she jokingly stated that ‘it all gets a little churchy after Glastonbury… like “it’s heaven on earth”… can we all relax?’  

So, here we have it again – people reaching for religious language to describe significant musical events. Be it the Oasis reunion or Glastonbury – I’m fascinated by the fact that we’re not content with stating that these gigs are merely talented people doing what they do well, and in so doing, giving us an enjoyable time. Such language may be factually accurate, but it doesn’t feel true enough to us. Rather, we’re grappling with the feeling that these events feel like something we were made to experience somehow, they they’re tapping into the deepest parts of us, perhaps?  

In the past, I’ve wondered whether this is down to the sense of profound togetherness that these events provide – how they have the ability to remind us that we’re bound to each other, only if for a night. They’re a direct afront to individualism, the biggest and sturdiest lie of our age. I’ve also reflected on the fact that they instil as sense of awe within us: raw awe. An elusive emotion that can be hard to come by, but that we were made to feel. I still think all of that comes into play. 

I’ve pondered this a thousand times and yet I’m still stunned, curious to the point of distraction, about the fact that we – in a secular, materialist, rational culture – cannot help but stretch toward spiritual language. Nothing else quite hits the spot; nothing else feels quite deep enough, big enough, true enough. Religious references and language, we’re determined to keep them in our repertoire, aren’t we? Our reliance upon them betrays us. Indeed, I’ve come to see our unceasing usage of them as a crack in the façade of disenchantment. 

Oh, people of 2025 and beyond, I can see that in every way you are very religious.  

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