Captivating Visual Journeys: Discover the Splendor of Chelmsford Cathedral Through Photography

CHELMSFORD Cathedral is set to present Peter Marlow: The English Cathedral, the forthcoming phase of an

ambitious exhibition showcasing works by the late Magnum photographer, Peter Marlow. This complimentary photographic

showcasing all 42 naves of England’s Anglican cathedrals will be on display from 10 January –

19 February 2025 in the South Aisle during regular cathedral opening hours.

Arranged by the Peter Marlow Foundation, the charity established to perpetuate Peter’s legacy, the objective is

that this ethereal compilation of images will be displayed at each of the 42 cathedrals he visited during his

photographic odyssey across England. Chelmsford Cathedral stands as the 24th of the 42 cathedrals to

host the exhibition thus far and signifies the first of 2025, which marks the 10th year of the exhibition’s

ongoing journey. Peter’s photographic portrayal of Chelmsford Cathedral takes the viewer back through a

decade, capturing the vibrant painted ceilings and contemporary artworks so characteristic of the Cathedral.

Situated in the heart of Essex, Chelmsford Cathedral is an extraordinary structure. The interior, with its

majestic arches and unique gilded ceiling, painted in 1961, is surprisingly luminous and

radiant. Thoughtfully rearranged in the 1980s, the original interior was artistically re-envisioned; a splendid

limestone floor was installed, a new organ constructed beneath the West Tower, and a Westmorland slate altar, crafted

by Robert Potter, the architect of the reordering, was introduced. The Cathedral also showcases an impressive

collection of modern art, creating a vibrant space where tradition intertwines with contemporary creativity.

Highlights encompass The Tree of Life mural by Mark Cazalet, ornamental features by sculptor Peter Eugene

Ball – a statue of Christ in Glory can be viewed in Peter’s image – and exquisite embroidery by Beryl

Dean, a prominent figure in modernist design in ecclesiastical embroidery, including the vivid silk

tapestry made of 1,520 pieces hanging beneath the East Window also visible in Peter’s photograph.

The exhibition, Peter Marlow: The English Cathedral, encourages guests to embark on a visual odyssey

through the lens of Peter Marlow, capturing the essence of the Cathedral in a play of natural illumination with

all artificial lighting turned off. Peter’s representation of the cathedral evocatively transports the

viewer back to the site’s historical roots by inviting reflection on its dramatic interior.

Revd Canon Sebastian Harries, Precentor at Chelmsford Cathedral, shares his thoughts about the exhibition;

“I’m delighted that we will be hosting the exhibition here in Chelmsford at the onset of the new year, and it is

especially meaningful that it coincides with the arrival of our new dean. The exhibition nurtures a

sense of community and unity among our cathedrals, showcasing each cathedral as singular and

reflecting a specific locale and community, while also revealing that all cathedrals share the common

purpose of providing a space where God’s people can congregate and facilitating the human body, heart, and

mind to encounter the divine through the beauty of art, architecture, liturgy, and music.”

PRESS CONTACT: Sam Trenerry, [email protected] +44 (0)7780 991 811 PETER MARLOW ‘THE ENGLISH CATHEDRAL’

Peter Marlow (b. UK, 1952 – 2016) was commissioned in 2008 by Royal Mail for the 300th-year

anniversary of the completion of St Paul’s Cathedral to photograph six Anglican Cathedrals that were

issued as commemorative stamps. Captivated by these initial magnificent interiors, he endeavored

to photograph all 42, guided over the next three years by a copy of English Cathedrals (1989) by

Edwin Smith and Olive Cook along with a deck of Anglican Cathedrals of England Top Trumps Cards.

“What I presumed would be incredibly straightforward transformed into intricate, complicated, and utterly

captivating. The journey was unforgettable and wonderfully mesmerizing, a sort of reflective pilgrimage. My

cathedral days involved hours of driving and pondering, with my reference Polaroids drying in the sunlight on

the dashboard. England flowed by.” Peter Marlow, The English Cathedral.

The images may appear deceptively straightforward in their composition and technical setup. It was after extensive

experimentation that Peter devised the ideal method to document these vast interior spaces and

to highlight the many diverse architectural subtleties between the buildings. Utilizing large format film

and relying solely on natural light, he positioned himself in the same spot at nearly all of the cathedrals – facing east

towards the nave and altar as the dawn light filtered through the main window. By ensuring all

artificial lighting was deactivated, a rarity within many of these structures where lights are perpetually on,

he captured the cathedrals emerging from the darkness as if poised in time and detached from the

modern era. This final outcome can be considered a contemporary revision of the long-standing tradition of church

photography in England, particularly Frederik Evans’ late 19th-century images and Edwin Smith’s mid-

20th-century works.

Peter’s stunning photographs sharply reveal the full magnificence of the interiors of some of

England’s most awe-inspiring structures, significant symbols of spiritual and architectural prowess.

“When engulfed in Peter’s photographs, we are metaphorically within some form of contemplative

enclosure, if not a sanctuary: one that confronts us with our personal sense of existence. The forms depicted

here are both tangible and abstract: carriers of history, light, and, above all, space.

In contrast to, and simultaneously alongside, the evident structure of the architectural edifice, Peter captures the

ethereal essence of all form generated by creative energy: the enduring enigma of space within

space.” Martin Barnes, The English Cathedral.