St Laurence Church, Catford, is a notable octagonal church built by Ralph Covell in 1968. The east wall behind the freestanding altar presented a problem that for several decades remained unsolved. A plain cloth screen covering the organ pipes formed an unsatisfactory backdrop to the sanctuary, despite an illuminated dalles de verre cross in its centre. The space ‘was an empty vacuum – not even a positive absence – a negative space demanding to be filled’, as Charles Pickstone, the current vicar, has put it. Victoria Rance, an artist based in nearby Deptford, was commissioned in 2008 to produce a work that would solve this problem, with enough visual force to fill and unite the space without distracting from the altar and sanctuary.

These two marble panels by Tom Phillips (2003) flank the entrance to the Chapel of Holy Souls at Westminster Cathedral. They have since been joined by an accompanying mosaic depicting St John Henry Newman (2008), and a mosaic scheme for the ceiling of the adjacent St George’s Chapel (2016).

One of many ovoid domes in the Cathedral which has been given imagery and decoration using mosaic. The works depict St Francis preaching to the birds and St Anthony to the fishes.

In 2000 Gollon was commissioned to paint 14 Stations of the Cross for the Church of St John on Bethnal Green, a grade one listed building designed by Sir John Soane. This was one of the largest commissions by the Church of England in recent times. Although previously Gollon was not best known for his religious work, the Rector Alan Green explained, "The church of St John on Bethnal Green has had a long-standing involvement with people on the fringes of our society, the sort of people who often figure in Chris' paintings.

This window was designed by Eduardo Paolozzi, who was born in Leith, to replace the plain glass rose and lancets in the Resurrection Chapel. Given in memory of Mary Carmichael, a much loved member of the congregation, it was dedicated in October 2002. When the sun floods through the window, it transforms the plain stone and woodwork into a kaleidoscope of colour.

The paintings integrate theologically with existing features, and express the fullness of the Maundy Thursday, Good Friday, Easter and Pentecost story. The sheer size of the work assists in seeing and understanding the size of the work of Christ, with darker lower sections focusing attention on the ‘darkness’ endured in the Passion, and the brightness of the upper sections lifting the eyes to resurrection, light, life, empowering and hope.

“ … There is a sense of latency and loss in the painting; but it also establishes a feeling of hope, a sense that, against all hope, hope yet remains.

"It also speaks a quite personal word to me,  and many like me in today’s world, for whom the old ways of speaking about God have lost their power and immediacy.  Still suggests an absence that is strangely like a presence.”

Small scale linocuts sympathetically framed and placed at regular intervals around the church.

Alice Sielle (b. 1950, British) is predominantly an abstract painter with a wide range of influences from Barnet Newman to Piero della Francesca.

Mark Cazalet was commissioned to create a painting on 35 oak panels depicting the Tree of Life. Mark, speaking about the installation, said that the inspiration behind the piece was the music and choral tradition of the Cathedral and that he very much wanted his mural to reflect this, with the swirling motion in the painting representing the musical traditions. Mark wanted the symmetrical design of the tree to represent opposing ideas with the tree bursting into life on one side and dying back on the other.

One of very few traditional frescoes done in contemporary times. The application of paint to wet plaster extended the artist's work to a three-year period.

Born in 1959 the Russian artist Sergie Fyodorov is an important contemporary painter of icons and frescoes.  Having studied art in Moscow, Fyodorov was first exposed to icons in a public gallery rather than a church. Inspired and moved by the works of master icon painters such as Andrei Rubliov, he tried to make an icon for himself by studying from a book. This was a dangerous and subversive act in Soviet Russia, where the creation of religious icons was against the law.

Paula Rego’s pastel depicts St Margaret of Scotland with her son, David. Born in Hungary, exiled from England to Scotland under William the Conqueror, Margaret then married King Malcolm III of Scotland, abandoning a plan to become a nun.

Stephen Cox was the joint winner of the ACE Award for Art in a Religious Context in 2007/8 for this altar which was commissioned by the people of Aosta in Italy from where the piece of marble was excavated. St Anselm is buried in the chapel having been born in Aosta.

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.

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.

The large onyx disc was installed as a gift on the north west lawn in the Close of Salisbury Cathedral but has since been transported elsewhere. It is made of one billion year old, semi translucent onyx and is around two metres tall.

The artists own feminine handwriting - a rare element of Christian iconography - reads 'I Felt You And I Knew You Loved Me'.

St Martin in the Fields’ East Window by Shirazeh Houshiary in collaboration with Pip Horne was commissioned as part of major redevelopments within the church and its curtilage.

Rona Smith’s North Window panel is constructed from a web of whirling squares suspended in the window alcove. The squares spiral out from a central 'eye' whilst the panel itself curves into the space forming a sculptural arc which echoes the two dimensional pattern.