Wherefore art thou art?

As we begin the month of May, I am mindful that my MFA studies are coming towards their conclusion, with work on the final pieces for our degree show in June filling my thoughts, as well as my diary. In parallel with this, I am deeply aware of an approaching deadline for an icon diptych, due to be completed by the end of June; these will be my first icons completed since last December. Throughout my studies at Oxford Brookes over the past two years, I have kept these two parts of my practice separate, dividing them conceptually in my thinking as "traditional" and "contemporary". One tutor has repeatedly challenged me in this, asking me to define what I mean by speaking of my "contemporary practice". When the creation of an icon involves me using techniques and materials that have remained largely unchanged for over a thousand years, describing other work as being "contemporary" makes perfect sense to me. Yet the continued invitation to consider my work holistically has remained and I find myself still reflecting on how and why it might be appropriate to draw these distinctions, or indeed to depart from them.

What is art?

Coming towards the end of an MFA in Fine Art, you might think that I would have learned the answer to this question. Alas, I still find myself pondering it far more than you would imagine! Certainly, it is not confined by historical views of creating images (two- or three-dimensional) of aesthetic beauty through the skilled use of paint, drawing tools, canvas, wood and stone. Contemporary art theory is much more focussed on process, the creation of works through whatever medium that enable the artist in some way to encapsulate their thinking or relationship with the materials. So, when looking at contemporary art works, we may be drawn by how they look (or draw any of our other senses into the experience) or by the artist's apparent skill, but that is not essential. Instead, we might ask ourselves what the work evokes within us; we might be invited by what we know about the artist to reflect on how the work highlights contemporary questions such as gender, race and culture, post-colonialism or ecological issues. Artists are encouraged to study current themes and trends and to situate their own practice within what other artists are doing. And "contemporary" in this context, set within a fast-changing world view, means (as we were told) the last twenty-five years or so. For those of us whose lifetime extends somewhat earlier than that, this comes as rather a harsh reality check!

This is one of the reasons why I hold to the view that icons are different. An icon is intended to embody timeless truths, to provide a visual representation of the theology of the Church as it has been passed down through generations. Consequently, it is (at least, as traditionally conceived) intended absolutely not to reflect current issues or to be changed and influenced by trends in today's world. Understanding this, the iconographer draws on earlier icons to help form the design and appearance of the icon, standing as one with the iconographic tradition over more than a millenium.

Mary, Mystical Rose

The artist's voice

This contrasting view of the icon, as opposed to art, has a significant impact on the role of iconographer versus that of the artist. An artist is encouraged to research their area of interest, to provide their own interpretation and to find their artistic voice within a body of work. The artist's statement might provide insight into their thinking, the issues they are seeking to address, and their viewpoint when producing their work. An artist is seeking to promote their work's unique qualities, to build a personal reputation and (as is often hoped) to boost sales. For me, my work so far has focussed on exploring disruption of the way in which we engage with the written word, and what this means theologically when addressed to the Word of God.

Lost in translation - a practice piece for my MFA degree show

Conversely, the role of the iconographer is, in many senses, to be invisible. It is not to have a style, or a point of view. An icon is not signed by the iconographer. Instead, the iconographer seeks a kind of kenosis (self-emptying) such that the grace of God's Spirit might direct our hands, our soul and our spirit in the creation of the icon. At its deepest level, to create an icon is to be in a state of prayer, of communion with the Divine Creator, allowing oneself to be a conduit for the indwelling of the Spirit.

The end result

I have scarcely been able to do any of these issues justice in the space available, so please forgive any inaccuracies caused by my conciseness. Yet, if we do take these distinctions seriously, they result in a fundamental difference in the end product. Put bluntly, an artwork is the result of a process of human creativity and the individual mindset and viewpoint of the artist. An icon, on the other hand, is an object that has been infused with the Divine Spirit through prayer, an outward representation of an inner grace. Consequently, when thinking about what an icon is, I often speak in terms of sacrament. So just as we would not describe baptism as a "quick wash", so I cannot view icons in the same way as I view much of my art. To suggest that my vocation as an iconographer is on an equal footing - or even the same - as my being an artist is to say that learning basic food preparation skills at cooking school is the same as celebrating the Eucharist at the altar. Conceptually, spiritually, vocationally, they do not come close.

When two worlds collide

Yet, I have to admit, through my experience of the past two years, that places of overlap do exist. At a very basic level, any sense that I have of my own identity incorporates both of these strands of creative endeavour. I am first and foremost a priest, ordained in God's church to proclaim the Gospel in each generation. Whether I do so through the creation of an icon for the glory, joy and adornment of God's holy Church, or I provoke theological engagement through conceptual pieces with a more contemporary approach, my vocation as priest is paramount.

And whatever you do, in word or deed, do everything in the name of the Lord Jesus, giving thanks to God the Father through him.

Colossians 3.17

Having spent the past seven months pouring so much of myself into the creation of six giant runes, it was not lost on me that what I was writing was the very name of Christ. Was it an icon? Absolutely not. Was there a part of me that believed that through placing Christ's name in Cirencester Market Place on Easter morning, the work did in some inexplicable way invoke the real presence of the living Christ in the heart of that community? I admit it, yes. There were moments on that day when I looked across at the runes in front of the ancient church building; I watched as people of all ages paused, picked up a pen, and lost themselves for a moment's contemplation and creative focus; and there was a profound sense of the Divine presence in what was taking place. I stood as a priest-artist-iconographer in that place, knowing that I had curated the event, the space, the opportunity, and that somehow, this was an ages-old, yet different, kind of liturgy playing out. This was a holy moment, holy ground, and yes, I believe, the presence of the risen Christ was there.

News

If you are interested in viewing more of my theological art, you are warmly invited to attend the Private View of my MFA degree show, which takes place in Oxford on Friday 12 June, 6-9pm, when there will be opportunity to talk to me, and the four other artists represented, about our work. The show is then open to the public daily until 21 June. (We are currently negotiating the possible provision of on-site parking for our visitors, so please do drop me a message if you are thinking of coming so I can let you know what we have worked out).

As I mentioned, I have an icon commission (a diptych of the Blessed Virgin Mary and St Richard of Chichester) that I shall start any day now. I am also delighted to have been invited to offer a day's teaching on icons as part of our spiritual journey for the spiritual directors of Leicester diocese; that will take place in the autumn.

Booking continues for my next Praying with Icons retreat at the beautiful Launde Abbey, 7-9 September 2026. More details here

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