Mystery of the Message

Brian Whelan      

28 October - 11 November 2010

Some suggest that Brian Whelan’s international travels can explain his strong narrative and distinctive style. But his journey as an artist found its definitive gateway just outside his own door, in the medieval churches and dwellings of East Anglia. For it is the vestiges of an art form that resonate with his Irish Catholic roots, back to a time when there was one church and from it’s painted walls great stories were told.
Whelan’s paintings, like much medieval art, depict a sublime comedy of life’s glories and tragedies in both religious and secular planes. While his painting "The Martyrdom of St. Edmund" permanently hangs in St. Edmundsbury Cathedral and “The Miracle of the Holy House of Walsingham” adorns the entrance hall of a private collector in Norfolk

Flames Stained glass

Alexandra LeRossignol

 Stained glass & Photography

 15 March - 19 April 2010

As a stained glass artist, my windows are a lens through which light is directed and transformed. The light of the window is not contained, unlike a painting or a print it doesn’t stay on a flat surface unchanging. There are the unexpected: rainbows darting from prisms, jewel facets casting fragmented lines on crumbling plaster and coloured light illuminating the heads of a congregation. The reflected glory of each window flares and fades as clouds scud across the sky forming an internal landscape on walls and floors. After a childhood in which I travelled from England to Nepal, I am now firmly rooted in a rural Benefice near the North Downs filled with wonderful medieval churches: yet the light, colours and influences of this time abroad are still with me.  

St Anthony the Great

Aleksandras Alekseyevas
Relief Icons

3-24 December 2009

Following the theory that has animated much of his earlier work, and especially that dealing with religious and archaic pagan themes, Aleksejevas reduces his forms to their essentials in order better to express their inherent power. In this he reflects exactly one of the pre-eminent tenets of orthodox iconography. The use of relief for his icons is, however, unsusual, and recalls a very rare and special category of Byzantine sculpture that was mainly confined to

Macedonia in the 9th to 13thCenturies, and which brings a third, “fleshly” dimension to the works which is absent in the flat topography of most orthodox image-making. As Professor Pentcheva of Stanford University’s Art History department comments in her article The Performative Icon: “… with the relief icon, matter fills an empty shell and gives materiality or substance to what is no longer there, to what is beyond the tangible: a present absence…relief icons display divine appearance through textured matter.

Alumni of the Prince’s School of Traditional Arts

28 October -18 November 2009

Tom Bree
Sara Salman
Samantha Buckley
Javier Romano
Amber Khokhar
Lisa Delong
Ayesha Gamiet
Nooshin Shafiei

Max MULHERN

Drawings & Sculptures

11 - 27 June 2009



Max has infused the show at Sacred Space with a strong maritime under current. It is probably no small coincidence that the bows of boats are enclosed by a safety feature called a pulpit. Crew can sit on them or grab hold of them in case of imminent peril.  “Anyone onboard can nestle there and look out over the sea like a preacher. The spectacle is often so beautiful that words too big to say well up in the throat. In these pulpits we listen. »

CHRISTINE WATSON

Works from Journey and Arrival

19 March - 1 May 2009



My paintings come about over a number of years; I work on about ten at a time in rotation. The impasto is partly a result of reworking and a desire to give substance to light itself. The nature of the work has revealed itself gradually to me. The figures are a collective presence, watching waiting moving, active passive neutral, suspended at the moment of and before arrival.

Red Textile (detail)    
48’’x120’’ Hand dyed silk habouti/silk organza textile with gold leaf

Mary Lee MURPHY

‘Celebration of Light’

19 - 26 February  2009

‘Inspiration’- to be inspired...  As an artist I am inspired by nature, the land, the light, and the colours. Inspiration is a movement of the spirit, and the artist is drawn to create works that reflect something of the beauty of Creation.  The works I make come from my contemplation of moments in nature, of pieces of light, and of themes of redemption. They are designed to be contemplated as a hymn to the mystery of life.

Tent on an Island    water colour on paper

Clare Newbolt

5 - 15 February 2009

WILDERNESS
A solitary tree, a few birds, ice, snow-blocked streams: in the expanse not even a hint of human presence. Why do we gaze at scenes like this with such fascination? Do we imagine the gods to live there? Do we seek wisdom in this place? Yes we do: it is a place inside us that we all turn to at some time or another as a place without boundaries where we find both fear and solace.
In the distance a high mountain its awe inspiring scale reducing everything before it to insignificance. We stand transfixed. Its dominance in the picture shows both its configuration of ourselves and its complete indifference to our existence.

 

Contemporary Byzantine Iconography

20 November 2008 - 31 January 2008

Icons, Fresco & Photographic Documentary

This exhibition programme was organised around the Constantinople Lecture which in 2008 was hosted by St John’s Notting Hill.  The lecture will be delivered by His Excellency, the Most Reverend Metropolitan Kallistos of Diokleia, on 27 November 2008.  
The exhibition celebrated Byzantine Art as it is still practiced today in important centres of Byzantine Orthodoxy like Mount Athos and Romania.
It  included icons by Pater Iakobos, a monk from the Holy Mountain, frescos by Adrian Iurco from Romania, as well as a photographic documentary by renowned photographer Dragos Lumpan.  

Virgin Hodigitria   By Fr Iakobos, Athos

Rose design

Mandalas & Cosmic Maps

Paul Wilkins

18 Sept - 2 Oct 2008


Paul Wilkins studied theatre design at Wimbledon School of Art and graduated in 1986. For the next ten years he worked as a designer/maker for theatre, film, opera and contemporary dance. In the mid nineties he grew increasingly interested in the craft and art of fine furniture making and after training at the London Guildhall University he started to work as a professional cabinetmaker producing bespoke handmade furniture.
Painting and drawing have always been an important part of Paul’s creative working process and it was whilst he was living on the North West Norfolk coast that he was able to concentrate on developing further this aspect of his work.

Archived exhibitions Part 2