‘Vessel’: An Art Trail Along Remote Rural Churches In The Black Mountains Of Wales
(REVIEW) The England–Wales border is dotted with ancient churches, many of which have not heard a sermon or hymn in decades. They are the lonely stone relics of declining rural communities where faith has all but faded away. Since 1957, Friends of Friendless Churches has cared for many of these places of worship, working to protect their rich history and architectural legacy.
Considering the charity’s founding members included the artist John Piper and poets T.S. Elliot and John Betjeman, it seems apt that seven of these remote buildings near the Black Mountains in Monmouthshire and Herefordshire have been selected as venues for “Vessel,” a contemporary art exhibition that forms an enthralling trail through rolling hills, scenic countryside and historic villages.
Each church is hosting one or more works by a contemporary artist, which have been sited in relation to the building’s physical qualities. Organized by the U.K.-based charity Art + Christianity and thoughtfully curated by Jacquiline Creswell (renowned for her visual arts programming in English cathedrals), the exhibition invites contemplation on themes derived from the multiple meanings of the word “vessel,” including containment, transportation, embodiment and transformation among others.
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The metaphor of the Christian Church as a maritime vessel is age-old. Indeed, the main sanctuary of a church building is called the nave, a word that comes from the Latin “navis,” meaning “ship.” This speaks to the notion of the church protecting those inside it from life’s waves and storms as it carries God’s love and grace into the world. These ideas are explored by Barbara Beyer’s sculptural installation “Wiela” (2023) at St Cadoc’s, a church with medieval origins in the bucolic parish of Llangattock-Vibon-Avel.
Installed in the churchyard are four boat-like forms made from adobe clay and roof slates; the dried mud with its prominent cracks suggests drought and fragility, while the slates evoke thoughts of shelter and sanctuary. These boats — which seem to be navigating away from the church — are a melancholic reminder of the many faithful worshippers who have long since departed from this place.
Beyer’s other work, “Possibilities” (2021), comprises seven deformed ceramic vessels which, before being fired, were deliberately dropped on the ground. They refer to an event in the life of St. Richard of Chichester, who is said to have dropped the chalice during a Mass but, upon picking it up, discovered it to be miraculously unbroken and still full of wine. Placed outside and inside the church, Beyer’s collapsed vessels convey a sense of loss, but also speak to the possibility of redemption and restoration.
In 2 Corinthians 4:7, the Apostle Paul likens Christian believers to “jars of clay,” or as some translations say, “earthen vessels,” who carry in them the treasure of the Gospel. The notion of human bodies as vessels is reflected by several pieces in the exhibition.
Jane Sheppard’s “Grace Vessel” (2023) sits like a ghostly presence in the humble surroundings of St. Michael and All Angels, Gwernesey, a diminutive church dating from the 13th century. The stone-like ceramic sculpture resembles something between a human figure and an ancient water jar; its curious timeworn markings complement the church’s old red sandstone walls, while its soft, rounded contours echo forms seen throughout the building.
The body is referenced explicitly in Steinunn Thórarinsdóttir’s “Centre” (2013), an androgynous human form installed in the churchyard of St. Mary’s, Llanfair Kilgeddin: a church surrounded by farmland and renowned for its arts and crafts interior. Recalling the work of British sculptor Antony Gormley, Thórarinsdóttir’s cast iron figure stands alone, its enigmatic gaze raised towards the church’s aged bell tower as if contemplating its place in this former community of faith. Its richly-patinated chest is pierced with a glass-covered hole: a window to the soul through which sunlight shines at certain times of day.
Photos courtesy of Mud and Thunder
The charming 12th-century church of St. Jerome’s, Llangwm Uchaf is famed for its richly carved rood screen, the artistry of which is spectacular. Beyond this, standing serenely in the side chapel, is Lucy Glendinning’s “White Hart” (2018), an ethereal human figure made with wax and jesmonite and covered in feathers. Thoughts of angels naturally spring to mind in this sacred context, though the striking sculpture also invites reflection on our symbiotic relationship with nature, echoing the nearby “Green Man” sculptures: Medieval carved faces sprouting foliage from their mouths.
In biology, vessels are carriers of vital fluids, whether that be blood circulating in the human body or water and nutrients in plants. This definition of the exhibition title is picked up by Andrew Bick, whose elegant tapestry “Compendium (Tree)” (2023) is suspended above the West door of St. David’s Llangeview.
Its abstract geometric forms — created on an 18th-century loom — echo the lines and shapes of the church’s Georgian woodwork and medieval rood loft, made, one assumes, with trees from the local landscape. Bick’s design, which is informed by Paul Klee’s diagrammatic images of trees and plants, introduces a splash of intense color to the church’s austere interior while inviting contemplation of growth and transformation.
Trees are an important touchstone for Robert George, whose work as an arborist has given him an intimate knowledge of wood. His sculpture “Simmer Down I” (2021) is installed in the humble surroundings of the partially restored Urishay Castle Chapel, a small, single cell building that sits in the shadow of a ruined castle with spectacular views over the Herefordshire countryside.
Appearing like a baptismal font or crucible, the sycamore wood sculpture is covered with hundreds of small, roughly textured oak pots that have been burnt, causing them to turn jet black. An astutely theological work, it speaks to biblical themes of spiritual purification through both water and fire.
Unlike other venues on this trail, the stunning 12th-century Dore Abbey is not in the care of the FoFC and remains an active parish church with regular Church of England services and events. Here, Lou Baker has created “Life/Blood” (2019-23), a striking textile installation at the east end of the former Cistercian Abbey.
Cords of red knitted wool are suspended from large pillars, flowing like rivulets of blood over the fragments of masonry from the original monastery that litter the floor. The spilled blood of Christ is in view here, alluding to the sacrament of Holy Communion and spiritual life. Indeed, the installation evokes a vascular system, reminding viewers of the active faith that still animates this ancient abbey.
Ivor Bulmer-Thomas, the founder of the FoFC said that “an ancient and beautiful church fulfils its primary function merely by existing. It is, in itself, and irrespective of the members using it, an act of worship. Their message is delivered — not for half hours on Sundays, but every hour of every day of every year, and not merely to those who enter, but to all who pass by.”
In giving us cause to take time out from our busy schedules and visit some of these wonderful buildings, “Vessel” enhances our appreciation of them and their message. Through a sensitive balance of compelling artworks and inspiring architecture, the exhibition elicits a contemplative response, encouraging reflection on the nature of our embodied condition and our relationship to these sites of significant spiritual heritage.
“Vessel” is at various venues until Oct. 31. Visit the Art + Christianity for more information.
David Trigg is a writer and art historian based in the U.K. He is the author of “Money in Art” (HENI). You can find him on Instagram @davidtriggwriter.