An old friend, Fr Martin Boland, has recently started blogging. Do take a look at his site: The Invisible Province.Here is his mission statement (I’m sure he would hate that phrase):
An attempt to map some of the features of the cultural landscape while challenging the current orthodoxy that culture and faith inevitably exist in opposition. The Invisible Province seeks to show that modern culture cannot sever itself from questions of transcendence and faith and nor can faith distance itself from culture. In surveying the fault lines between culture and faith, The Invisible Province reimagines this relationship and suggests avenues for mature dialogue.
Just to give you a taste of his writing, these lines come from his post about fashion designer Alexander McQueen:
But McQueen’s importance will not be based on his preoccupation with mortality or the tragic nature of his own death. His importance will lie in the fact that he could take a roll of fabric and in his mind’s eye, he could see how it might transform the human form: lengthen legs; broaden shoulders; pinch a waist. Combining this interior knowledge with his store of cultural references from history, religion and society made for new levels of creativity. McQueen understood that in societies where the visually crude and crass predominate, a garment of transforming beauty could still seduce us. Fashion, for a brief moment, could make us pause and wonder. His legacy is not death, but beauty.
And here is the opening paragraph of his review of the Chris Ofili exhibition at Tate Britain:
A common criticism levelled at contemporary artists is that they don’t know how to paint. Chris Ofili certainly does. The current retrospective at Tate Britain presents him as the most painterly of painters. His works are all about the sensual layering of paint; the celebration of virtuoso technique; the fusing of colour and pattern that calls to mind the printed textiles of Nigeria, Ofili’s ancestral home. Not content with exuberant brushwork, he decorates his works with an infectious rash of psychedelic ornamentation, a multi-coloured braille. Collaged magazine images and glitter fizz and spark. Images are sampled from popular black culture (the pimps, dealers and prostitutes of blaxploitation films) or religious iconography (the Virgin Mary, the Last Supper) and then mashed up on the canvas. And, somewhere, you will find the unmistakable signature of the artist: a lump of elephant dung elevated to the status of a modern totem. “[Using the dungballs is] a way of raising the paintings up from the ground,” explains Ofili, “and giving them a feeling that they’ve come from the earth rather than simply being hung on a wall.” In Ofili’s hip-hop aesthetic the beautiful and the degrading, the sacred and profane, history and culture bump and grind to a sweaty rhythm.
I think the blog will be well worth following.