The Eightfold Kingdom Within: Essays on the Beatitudes & The Gifts of the Holy Ghost, Robinson Carol Jackson

This new hardback edition includes many new illustrations. including photographs taken for this new edition. The text has been completely updated.

EXTRACT FROM CHAPTER 4:

One of Kurt Jackson's appealing concepts is that the ocean is one of the last true wildernesses left on the planet. It's an idea that I found very interesting when he explained it to me when we first met in St Just. I took it that he meant a spiritual as well as an ecological or natural wilderness. Jackson's art can thus be seen as an art that is the border region between humanity and nature, between culture and nature, as well as literally tackling that area - the coast - which is neither land nor sea.

Note that Kurt Jackson is always facing outwards from the land, and looking towards the ocean, not painting with his back to the sea, and looking towards the land (and notice that the many boats and ships and helicopters and such in this area are left out of the paintings, too).

So Jackson's Porth series, about Priest Cove, and all of his sea paintings, are very important in his art in articulating this idea of the ocean as the last wilderness. 'Have you ever wondered what's out there?' is a question that Kurt Jackson asks (it's the title of one of his major paintings, too - the centrepiece of the Porth series).

Jackson has repeated the question over a number of related works: the title of two 2004 pieces is The Last Wilderness In Western Europe? This was painted on Jura (in Scotland), and both pictures are consciously emptied of human marks - just empty moorland and a delicate blue sky. An earlier picture, part of the Cape series, was entitled Do You Ever Wonder What's Out There? (1999) - an unusual composition in the Jackson oeuvre which puts the horizon very high, and focusses on the dark blue ocean flecked with white spray.

Kurt Jackson isn't that interested in many of the connotations of the ocean - the moon, time, goddesses, rebirth (though moons do appear in his art from time to time). He's not really interested in religious or pagan or magical symbols in that way. And he's not that interested in shipping, fishing, and all things maritime, like J.M.W. Turner was.

But when Jackson asks a question like 'have you ever wondered what's out there?', and considers the sea as one of the last wildernesses, that alters the interpretation of his sea paintings. It doesn't apply to all of them, though: in plenty of paintings (and not only the smaller or more modest ones), Jackson is not thinking in terms of big themes.

In this first issue we are elaborating on the theme of our whole magazine, which is: We must make a new synthesis of Religion and Life. Possibly the Church has other tasks yet more urgent today, but this job is certainly high up on the agenda. It looks like the basic problem for us, who are lay people. Anyhow, we have chosen it as our special work to help solve it, and every issue will bear on the main thesis....

Integral Catholicism is already becoming a popular expression. It does not mean piety so much as wholeness. It means that what we profess to believe is consistent with the assumed principle by which we live out our daily lives. It suggests a consistency of theory and practice; a unity of public life and private morals; a reconciliation of commercial ethics and religious dogma, of individual conscience and statutory law. It means a cessation of the uneasy Sunday-lipservice-to-God-and-40-hours-a-week-with-time-and-onehalf-for-overtime-devotion-to-Mammon by which so many of our lives are compromised. The relationship between "wholeness" and "holiness" is as direct as the derivation of the second word from the first. It becomes daily more difficult to lead holy lives in disregard of the contradictory nature of the circumstances thereof. The guiding policy of contemporary society is expediency. Don't act from high moral principles (it's impractical). Don't commit yourself either to thorough-going villainy (it isn't nice). Just compromise, adjust, submit, water down, and make the best of a bad situation (after all, we have to eat). Our expediency looks less and less like the "sane policy of realistic leaders" and more and more like the degrading opportunism of ignoble men. Integrity is at the opposite pole from expediency. It is a quality which does not look first to the financial consideration involved, does not calculate its actions to please high worldly powers, or with an eye to the coming elections. It does not hold that the end justifies the means, but that we must do what is right, come what may. We hope to achieve it ourselves and in our magazine

A new book about the British landscape painter Kurt Jackson (b. 1961).

This new hardback edition includes many new illustrations. including photographs taken for this new edition. The text has been completely updated.

EXTRACT FROM CHAPTER 4:

One of Kurt Jackson's appealing concepts is that the ocean is one of the last true wildernesses left on the planet. It's an idea that I found very interesting when he explained it to me when we first met in St Just. I took it that he meant a spiritual as well as an ecological or natural wilderness. Jackson's art can thus be seen as an art that is the border region between humanity and nature, between culture and nature, as well as literally tackling that area - the coast - which is neither land nor sea.

Note that Kurt Jackson is always facing outwards from the land, and looking towards the ocean, not painting with his back to the sea, and looking towards the land (and notice that the many boats and ships and helicopters and such in this area are left out of the paintings, too).

So Jackson's Porth series, about Priest Cove, and all of his sea paintings, are very important in his art in articulating this idea of the ocean as the last wilderness. 'Have you ever wondered what's out there?' is a question that Kurt Jackson asks (it's the title of one of his major paintings, too - the centrepiece of the Porth series).

Jackson has repeated the question over a number of related works: the title of two 2004 pieces is The Last Wilderness In Western Europe? This was painted on Jura (in Scotland), and both pictures are consciously emptied of human marks - just empty moorland and a delicate blue sky. An earlier picture, part of the Cape series, was entitled Do You Ever Wonder What's Out There? (1999) - an unusual composition in the Jackson oeuvre which puts the horizon very high, and focusses on the dark blue ocean flecked with white spray.

Kurt Jackson isn't that interested in many of the connotations of the ocean - the moon, time, goddesses, rebirth (though moons do appear in his art from time to time). He's not really interested in religious or pagan or magical symbols in that way. And he's not that interested in shipping, fishing, and all things maritime, like J.M.W. Turner was.

But when Jackson asks a question like 'have you ever wondered what's out there?', and considers the sea as one of the last wildernesses, that alters the interpretation of his sea paintings. It doesn't apply to all of them, though: in plenty of paintings (and not only the smaller or more modest ones), Jackson is not thinking in terms of big themes. But when he titles a painting Have You Ever Wondered What's Out There? (and writes the title in big letters across the painting), it's clearly intended to resonate in the viewer at a deeper level.

REVISED AND UPDATED, WITH NEW ILLUSTRATIONS

Fully illustrated, with a revised text. Bibliography and notes. ISBN 9781861713100.

Also available in hardback.

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REVIEWS ON AMAZON:

A well- written and thoughtful book.

*

So useful to gain such insight into an artist's life and inspirations.