Winner of the A+C Art Award for a permanent commission, Stephen Owen’s carved communion table and lectern are powerful symbolic pieces of liturgical furniture.

In response to the invitation by the Westminster Cathedral Art and Architecture Committee to Giacomo Manzu that he should produce a low relief bronze wall panel showing St Thérèse of Lisieux for the Cathedral, Manzu submitted a sketch in 1956. This was immediately approved and the commission awarded. Manzu then proceeded to design and produce the bronze in Italy with casting taking place in Milan.

A triptych of modern stained-glass windows hanging in Gloucestershire Cathedral's South Ambulatory Chapel, the central one recalls the story of doubting Thomas, while those either side are abstract articulations of Psalm 148 which praises God's creation.

"Scintilla is a visual orchestration of life, made to echo inside the tall paleness of Christ Church Spitalfields. An evocation of landscape and elements that wants to summon the potent majesty of natures shifting energy to the core of Hawkesmoor’s  poised linear order."

Nominated by Brian Catling

The altar that stands solidly as the ‘centre-point’ in the Resurrection Chapel around which the Community of the Resurrection and its guests gather on most days for the celebration of the Eucharist was designed and sculpted by Nicholas Mynheer.

This striking sculpture gives a dynamic focus to the church which takes a simple tent-like form. Behind the austere altar table the outstretched arms of the reflected figure invoke a well-proportioned ellipsis on the east wall. 

The main features of the sanctuary are the Reredos and the stained glass windows... The Seven Angels Reredos was designed and worked by Susan Riley. Commissioned in 2000 it took two years to complete and was inspired by the angels of the seven churches to whom letters are addressed in the first three chapters of the Book of Revelation.

Window based on the theme of Psalm 150

In 1970 the church of St Anselm's Kennington planned to redecorate its interior and invited Norman Adams to paint murals for the two side walls. After some deliberation between Adams and the Vicar at the time, Pilgrim's Progress was settled on as a theme and Adams undertook an abstract series working from dark to light in a modern yet expressionist manner.

All Saints Newland, known as the Cathedral of the Forest (of Dean), is also in the Wye Valley. Thus Beryl Dean used imagery of foliage, fish, water weed and snails for this Festal Set. The detail and design are both meticulous, charming and compliment the architecture of this rural church.

This speaks of unity of sound and glory. It is a universally accessible symbol, as was specified in the artist’s brief. They themselves echo the Grassin case design which features a fish (or Ickthus) motif on the front of the closed case. The four fish – two on the left and two on the right are Christian symbols which, in turn, enfold the circle within.

Known for his many commissions included murals for the Festival of Britain in 1951 and Manchester Cathedral in 1963, Carel Weight was strongly guided by the specific locations of his paintings.

In 2015, Leslie Smith, the then Chairman of the Friends of Godmersham Church, approached the stained glass artist and conservationist Léonie Seliger with an idea to create new glass work for the church in memory of his late wife, Sue. The two windows at the apsidal east end of the largely unadorned North Chapel were chosen. The PCC soon approved the designs, which are a gentle celebration of nature and which recall the pattern made by exposed stones and their dark mortar joints fixed into the limestone arch above. 

Painted in 1961 for the Church of the same name, Mary is depicted as the strong Mother of Mankind. The child, sleeping peacefully on her arm, represents humanity undisturbed by the chaos of the world, shown in the blazing explosion of the background.