Ecclesiart is an online project that raises awareness of significant works of modern and contemporary art since 1920 in UK churches and cathedrals.

The selected works represent the diversity of high quality church commissions and reflect developments in artistic practice and ecclesiastical art and design. You can explore the collection using the tiles below or by using the Ecclesiart map.

We seek to encourage increased responsibility towards works which may be under-appreciated or at risk and hope that this selection of works provides inspiring and challenging examples of art in churches useful to any parish or individual wishing to commission a new work.

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We welcome nominations of new works to be added to Ecclesiart. Please email us with a short text about why you think a work of art should be included with a short theological reflection on the work and its context (no longer than 150 words) and if possible please include images. Please note that we do not accept nominations from artists for their own work.

All permanent works shortlisted for the Award for Art in a Religious Context are added to Ecclesiart. For all other nominations, the Director and trustees of Art and Christianity reserve the right to select works which they determine as meeting the criteria of aptness to context, artistic and technical merit and appropriate theological meaning.

 

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Ecclesiart, Ecclesiart Batch 3 Stuart Hillcock Ecclesiart, Ecclesiart Batch 3 Stuart Hillcock

Sophie Hacker: Revealing Glory, Renewing Hope

The design is inspired by a 17th century map of the town and includes significant historical landmarks such as neolithic earthworks and an early medieval castle. The main road clearly marked on the map becomes a horizon line in the window. In the ‘sky’ above, a golden shape glows with light where the ruins of Ludgershall Castle now stand.

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Ecclesiart, Ecclesiart Batch 4 Stuart Hillcock Ecclesiart, Ecclesiart Batch 4 Stuart Hillcock

Antony Gormley: Transport

‘Antony Gormley’s Transport in Canterbury is a large and striking human figure, created from iron nails formerly in the roof of the Cathedral. It is suspended three metres above the floor of the site of the first burial place of St Thomas Becket in the Eastern Crypt. [...] This is a beautifully made and very clever piece of work which impresses by its technical accomplishment’ (The Very Revd Nicholas Frayling, Chair of the judging panel for the ACE Award for Art in a Religious Context, 2011).

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Ecclesiart, Ecclesiart Batch 3 Stuart Hillcock Ecclesiart, Ecclesiart Batch 3 Stuart Hillcock

Thomas Denny: Transfiguration Window

This work 'was created in honour of Bishop Michael Ramsey, and intended to reflect his theological interests, in particular his fascination with the Transfiguration of Christ... The window is in the South Quire Aisle and is 16x16m in size. This window is technically very assured and of high quality. Its location means that it can only really be seen at close quarters, and it is indeed very detailed in its depiction of biblical images.’

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Ecclesiart, Ecclesiart Batch 3 Stuart Hillcock Ecclesiart, Ecclesiart Batch 3 Stuart Hillcock

Maggi Hambling: The Winchester Tapestries

Created by Maggi Hambling for the High Altar at Winchester Cathedral, these tapestries, the artist’s first, were dedicated on 7 July 2013. Maggi Hambling collaborated with Ateliers Pinton – a French tapestry workshop in the Aubusson region which has worked with artists such as Picasso, Miro, Leger and Sutherland (for Coventry).

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Ecclesiart, Ecclesiart Batch 3 Stuart Hillcock Ecclesiart, Ecclesiart Batch 3 Stuart Hillcock

Duncan Grant: The Victory of Calvary (or Crucifixion)

During WWII, Bishop Bell commissioned Bloomsbury group artists, Duncan Grant, Vanessa Bell and Quentin Bell to cover much of the church in extensive murals. Duncan Grant's The Victory of Calvary shows Christ in victory on the Cross. Jesus is not obviously suffering; here he is the victor, standing on a platform rather than hanging down. Grant originally depicted Christ unclothed, a decision which drew criticism from the Church, so he repainted a cloth around his waist.

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Ecclesiart, Ecclesiart Batch 3 Stuart Hillcock Ecclesiart, Ecclesiart Batch 3 Stuart Hillcock

Antonia Hockton: The River of Life reredos

Antonia Hockton's River of Life reredos at St Georges, Great Bromley, Essex adds greatly to the way the altar in the side chapel works. This was just what a parish church should be doing: engaging a local artist who explores the context and makee something new that flows into the altar and on to those who worship there, and although it may have seemed a lot to the parish, it was achieved relatively inexpensively.

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Ecclesiart, Ecclesiart Batch 3 Stuart Hillcock Ecclesiart, Ecclesiart Batch 3 Stuart Hillcock

Chris Gollon: Stations of the Cross

In 2000 Gollon was commissioned to paint 14 Stations of the Cross for the Church of St John on Bethnal Green, a grade one listed building designed by Sir John Soane. This was one of the largest commissions by the Church of England in recent times. Although previously Gollon was not best known for his religious work, the Rector Alan Green explained, "The church of St John on Bethnal Green has had a long-standing involvement with people on the fringes of our society, the sort of people who often figure in Chris' paintings.

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Ecclesiart, Ecclesiart Batch 3 Stuart Hillcock Ecclesiart, Ecclesiart Batch 3 Stuart Hillcock

Eduardo Paolozzi: Stained glass windows

This window was designed by Eduardo Paolozzi, who was born in Leith, to replace the plain glass rose and lancets in the Resurrection Chapel. Given in memory of Mary Carmichael, a much loved member of the congregation, it was dedicated in October 2002. When the sun floods through the window, it transforms the plain stone and woodwork into a kaleidoscope of colour.

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Ecclesiart, Ecclesiart Batch 3 Stuart Hillcock Ecclesiart, Ecclesiart Batch 3 Stuart Hillcock

Mo Enright: The Easter Story

The paintings integrate theologically with existing features, and express the fullness of the Maundy Thursday, Good Friday, Easter and Pentecost story. The sheer size of the work assists in seeing and understanding the size of the work of Christ, with darker lower sections focusing attention on the ‘darkness’ endured in the Passion, and the brightness of the upper sections lifting the eyes to resurrection, light, life, empowering and hope.

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Ecclesiart, Ecclesiart Batch 3 Stuart Hillcock Ecclesiart, Ecclesiart Batch 3 Stuart Hillcock

Laurence Edwards: Beast of Burden

Behind the altar table in Holy Trinity Church in Blythburgh, Suffolk, is a powerful altarpiece by Laurence Edwards. Cast in bronze from the mud, wood and hogweed that can be found all around the Suffolk locality, Edward’s sculpture brings the precise beauty of the outside marsh into the church in a way that combines imagination, emotion and spirit.

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Ecclesiart, Ecclesiart Batch 3 Stuart Hillcock Ecclesiart, Ecclesiart Batch 3 Stuart Hillcock

Alison Watt: Still

“ … There is a sense of latency and loss in the painting; but it also establishes a feeling of hope, a sense that, against all hope, hope yet remains.

"It also speaks a quite personal word to me,  and many like me in today’s world, for whom the old ways of speaking about God have lost their power and immediacy.  Still suggests an absence that is strangely like a presence.”

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Ecclesiart, Ecclesiart Batch 3 Stuart Hillcock Ecclesiart, Ecclesiart Batch 3 Stuart Hillcock

Graham Sutherland: Crucifixion

Graham Sutherland's Crucifixion, unveiled in 1963, was the third he had created for a church and the first and only commission that he received from a Roman Catholic Church, despite being a Catholic himself. It taps another theme found within the revival of sacred art, a focus on the horror of crucifixion. For Sutherland this derives from reflection on the terror inherent in both Grünewald’s Isenheim altarpiece and the reality of the Holocaust.

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