David Trigg speaks to Laura Moffatt, director of Art + Christianity, an organisation seeking to foster and explore the dialogue between art, Christianity and other religious traditions. 

Since the 1990s, Art + Christianity has forged relationships with galleries, institutions and places of worship through projects, events, and publications. It also works to raise awareness of the rich heritage of modern and contemporary art in church buildings.

Laura studied Fine Art at the University of Newcastle and Arts Criticism at City, University of London. Before becoming director of Art + Christianity, she worked for Art Monthly and the Hoxton gallery, PEER. She is a member of The Diocesan Advisory Committee for the Care of Churches and sits on the Church Buildings Council, which advises on the care, conservation and development of church buildings.

Laura speaks about her work with Art + Christianity and takes us on a tour of London churches to visit a selection of modern and contemporary artworks that the organisation is documenting as part of its Ecclesiart project.

Artworks visited:
John Hayward, interior murals, St Michael & All Angels, London Fields
Rona Smith, North Elevation, Lumen United Reformed Church, Bloomsbury
Stephen Cox, Adam and Eve, St Luke's Church, Chelsea

Ecclesiart currently lists more than 80 permanent works of art in churches and cathedrals, reflecting the diversity of commissions and charting developments in ecclesiastical art and design.

Artworks discussed in this episode can be viewed on Instagram @exhibitingfaith and on the Art + Christianity website

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David Trigg speaks to the London-based painter Matthew Krishanu, whose figurative paintings explore themes of childhood, religion and the legacies of colonialism. 

Matthew was raised in Bangladesh in the 1980s, a formative period which has inspired several bodies of work, from paintings based on his childhood adventures with his brother, to his Mission series addressing his father’s role as a priest in the church of Bangladesh, and his House of God paintings, which depict church buildings in the Bengal landscape.

Matthew’s paintings of religious meetings, ceremonies and churches are painted in a simple and abbreviated style with thin washes of paint and bold, assertive marks. Yet his uncomplicated aesthetic belies a complex web of historical and cultural undercurrents that serve to problematise his beguiling images. 

Matthew’s interest in making paintings about religion led to his Religious Workers series, created for the Southbank Centre’s Everyday Heroes exhibition in autumn 2020, which responded to the Covid-19 pandemic with a vivid outdoor celebration of key and frontline workers.

Whether addressing religion, the legacies of Western imperialism, or the history of religious art, his works resist polemics, instead inviting conversation and contemplation.

Artworks discussed in this episode can be viewed on Instagram @exhibitingfaith @matthewkrishanu and on Matthew’s website website: www.matthewkrishanu.com 

Matthew’s first monograph will be published by Anomie Publishing in spring 2023: www.anomie-publishing.com/matthew-krishanu/

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David Trigg speaks to artist, writer and mentor Alastair Gordon about the Christian imagination and how art and faith intersect in his work.

Alastair’s meticulous paintings draw on the tradition of Quodlibet, a little known 17th-century genre of illusionistic painting, in which collections of everyday objects are depicted scattered across tabletops or pinned up on boards. Reimagining quodlibet for the 21st century, Alastair paints snapshots of the artist’s studio, where materials relating to the making of paintings are all rendered with exacting detail. In these works, still life mingles with landscape to address weightier concerns of truth, beauty, and faith.

As a writer, Alastair has reflected on the relationship between art and faith through several books, exploring from a Christian perspective what it looks like to work with integrity as an artist and religious believer. 

Alastair's work as a mentor has helped countless artists think clearly about how their personal faith connects with their work, bringing clarity, encouragement and challenge to believers working in the arts. 

Artworks discussed in this episode can be viewed online via Alastair’s website: www.alastairjohngordon.com and on Instagram @alastair_gordon @exhibitingfaith

Learn more about Alastair’s work with Morphé Arts: www.morphearts.org 

Alastair’s book, Why Art Matters, is available now, published by IVP: ivpbooks.com 

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David Trigg speaks to Birmingham-based textile artist Farwa Moledina about her exhibition Women of Paradise at Ikon Gallery.

Raised in Dubai in a Muslim family, Farwa moved to the UK in 2010, where she studied at Birmingham School of Art. Since graduating in 2018, she has been making textile-based works, which, through the use of pattern and Islamic design principles, address themes of feminism and faith, and scrutinise the portrayal of Muslim women in the canon of western art. Her work aims to stimulate a more nuanced debate regarding female Muslim identity and the way in which Muslim women are viewed.

Farwa’s new textile work, Women of Paradise, is a response to the singular religious narratives that dominate western museums and galleries. It is a study of the four women promised paradise Islamic tradition: Aasiyah, the adoptive mother of Moses; Khadijah, the wife of the Prophet Muhammad and Fatimah their daughter, and Maryam the mother of Isa, otherwise known as Mary, the mother of Jesus. 

Conscious that galleries and museums rarely contain depictions of Mary outside of the Christian imagination, Farwa provides a different perspective on this figure, who is of important religious and cultural significance in Islamic countries.

In addition to her exhibition at Ikon Gallery, she discusses two earlier works: Thawra (2020), which focuses on revolutionary Muslim women and the erasure they have faced throughout history; and By Your Coming We Are Healed (2020), a work made during the first national Covid lockdown that focusses on Ramadan in the time of the pandemic.

Artworks discussed in this episode can be viewed online via Farwa’s website: www.farwamoledina.com and on Instagram @farwamoledina @exhibitingfaith

Learn more about Women of Paradise: https://www.ikon-gallery.org/exhibition/women-of-paradise

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David Trigg speaks to curator and visual arts advisor Jacquiline Creswell, who for 12 years was the driving force behind Salisbury Cathedral’s pioneering visual arts programme.

Since 2009, she has organised more than 45 exhibitions in sacred spaces, presenting modern and contemporary works that reflect on our shared humanity, encourage spiritual responses, and demonstrate art’s power to transform and renew.

Raised in South Africa in a Jewish family, Creswell studied art and graphic design in Johannesburg, and practiced as a sculptor before the demands of motherhood intervened. Having moved to the UK, she returned to making art in the 2000s, working alongside two stonemasons who had worked at Salisbury Cathedral. Through this working relationship, and helping a friend with a fundraiser at the cathedral, she became enamoured with the awe-inspiring space, but it was seeing an exhibition of sculpted angel heads there in 2008 by artist Emily Young that really piqued her interest in the intersection of art and faith.

Jacquiline talks about how she started curating in sacred spaces and the challenges of placing modern and contemporary art in places of worship, how she takes risks as a curator and how her own faith has informed her work. She also discusses the ways in which art in churches and cathedrals can help people to connect with the things of faith and bring communities together, from Michael Pendry’s installation Les Colombes, presented in the aftermath of the Salisbury Novichok attacks, to Together We Rise at Chichester Cathedral, an exhibition by artists from the Royal Society of Sculptors programmed in response to the COVID-19 pandemic (until 6 September, 2022).

Artworks discussed in this episode can be viewed online via Jacquiline’s website: https://visualartsadvisor.org and on Instagram @exhibitingfaith

Learn more about Together We Rise: https://www.chichestercathedral.org.uk/together-we-rise

Follow @visualartsadvisor and @togetherwerise2022 on Instagram

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Exhibiting Faith is a podcast about the intersection of art and faith, from art in sacred spaces to artists and curators engaged with issues of faith. In each episode, critic and art historian David Trigg welcomes a different guest for whom faith has played a significant role in their life and work.

Exhibiting Faith is supported using public funding by Arts Council England.

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In this episode David Trigg speaks to Jonathan A. Anderson to discuss his new book The Invisibility of Religion in Contemporary Art (University of Notre Dame Press, 2025), which challenges the notion that religion is irrelevant to modern and contemporary art. 

Jonathan is the Eugene and Jan Peterson associate professor of Theology and the Arts at Regents College in Vancouver and his scholarship explores the interrelations of art history, theology and religious studies, with a particular focus on modern and contemporary art.

In his book, Jonathan calls for the histories of art “to be reread and rewritten in ways that understand religion and theology more seriously,” and encourages new ways of thinking and writing about artists whose works are more theologically complicated than has previously been recognised. 

Jonathan is the author of Modern Art and the Life of a Culture: The Religious Impulses of Modernism (with William Dyrness, 2016), and many articles and book chapters on related topics, including “Modern Art” in The Oxford Research Encyclopedia of Religion (2021). 

Trained as an artist, art critic, and theologian, Jonathan has a PhD from King’s College London and an MFA from California State University Long Beach. Prior to his chair at Regent College, he was the postdoctoral associate of theology and the visual arts at Duke University (Durham, NC) and an associate professor of art at Biola University (La Mirada, CA).

To learn more about Jonathan A. Anderson, visit his website and follow @jonathan.a.anderson on Instagram.

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In this episode, David Trigg speaks to Beth Hughes, an independent curator and researcher who was Visual Arts Curator at Salisbury Cathedral from 2023 to 2025.

Beth discusses her time at Salisbury Cathedral, where she programmed six ambitious exhibitions, including the group shows ‘To Be Free’, which explored human rights and freedoms; ‘Our Earth’ which focused on the impact of climate change; and a solo exhibition of work by British artist Shezad Dawood.

Her final exhibition, ‘Living Water’, brings together works by six contemporary artists who explore the power of water, both as a symbol and an influence that shapes our world. Beth speaks about what inspired the exhibition and takes us on a tour of its works, which are situated in relation to the cathedral’s stunning architecture and ecclesiastical context. 

Previously, Beth was Curator at Arts Council Collection for eight years and is currently Curator and Creative Producer for Lubaina Himid Projects. Beth is also undertaking a PhD with Manchester University to examine the representation of contemporary British working-class artists in publicly-funded art collections, and she leads the Working Class British Art Network.

Artworks discussed in this episode can be viewed on Instagram @exhibitingfaith

For more information on ‘Living Water’ visit the Salisbury Cathedral website.

To learn more about Beth Hughes, visit her website and follow @beth_beth_hughes on Instagram.

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David Trigg speaks to Mahtab Hussain, an artist who uses photography, film and sculpture to investigate the Muslim experience through themes of identity, displacement, and belonging. 

Mahtab was raised in Birmingham, where he fell in love with photography at Joseph Chamberlain College before studying the subject at Nottingham Trent University and Goldsmith’s College, London.

While working in the museums sector, he became frustrated about not seeing his own community represented in art, and he returned to photography in 2010, going on to create award winning projects such as You Get Me? a series of intimate photographic portraits examining the identity of young British Asian men.

In this episode, Mahtab discusses his recent work, the British Muslim experience and his personal journey to faith. The conversation focusses on his solo exhibition What Did You Want to See? at Birmingham's Ikon Gallery.

Commissioned by Ikon and Photoworks, What Did You Want to See? addresses themes of surveillance, visibility and the act of looking in relation to the Muslim community in Birmingham and beyond. 

The exhibition responds to a covert counter-terrorism operation known as Project Champion, which in 2010 placed thousands of Muslims living in Birmingham under the watchful eye of more than 200 CCTV cameras. Officials claimed that the scheme was a local policing initiative but, after the true purpose of the cameras was revealed, local outrage forced the scheme to be abandoned.

*** Please note that this episode makes reference to racist language that some listeners may find offensive ***

Artworks discussed in this episode can be viewed on Instagram @exhibitingfaith

For more information on What Did You Want to See? visit the Ikon Gallery website.

To learn more about Mahtab Hussain and his work visit his website and follow @mahtabhussain on Instagram.

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In this episode, David Trigg is joined by Laura Moffatt, Director of Art + Christianity, for the first of two episodes exploring the vibrant artworks of Liverpool’s two magnificent cathedrals: the protestant Cathedral Church of Christ and the Catholic Metropolitan Cathedral of Christ the King.

This first instalment explores a selection of modern and contemporary artworks displayed in Liverpool’s Anglican Cathedral.

Based on a design by Giles Gilbert Scott, the striking gothic revival structure was built in local red sandstone between 1904 and 1978. With its giant 101 metre tall central tower and massive proportions, the building dominates the city skyline.

The tour begins outside the cathedral, where high above the West Doors is Elisabeth Frink’s The Welcoming Christ (also known as The Risen Christ), a large 5-metre-tall bronze installed in 1993. Inside, Laura leads us to see parable paintings from the mid-1990s by Christopher Le Brun and Adrian Wiszniewski; a 1998 crucifixion scene by Craigie Aitchison, and Tracey Emin’s 2008 neon installation For You.

Our visit to the cathedral coincided with the 13th edition of the Liverpool Biennial, the UK’s largest free festival of contemporary art. This year works by two Biennial artists have been installed in the cathedral: glass collages by Ana Navas in the Lady Chapel, and a spectacular large-scale textile installation by Cypriot artist Maria Loizidou near the west end of the cathedral titled Where Am I Now?

David is also joined by the cathedral’s Canon Chancellor Ellen Loudon to discuss why it is important for the cathedral to engage with visual art.

Artworks discussed in this episode:

Elizabeth Frink (1930-1993), The Welcoming Christ (1993)
Christopher Le Brun, The Prodigal Son (1996)
Christopher Le Brun, The Good Samaritan (1996)
Adrian Wiszniewski, The Good Samaritan (1995)
Adrian Wiszniewski, The House Built on Rock (1995)
Craigie Aitchison, Calvary (1998)
Maria Loizidou, Where Am I Now? (2025)
Ana Navas, Passion Flower (2025)
Tracey Emin, For You (2008)

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