Article
Belief
Change
6 min read

What makes a journey a pilgrimage?

Travel may broaden the mind, but pilgrimage can nourish a soul.

Graeme is a vicar of Marsden and Slaithwaite in West Yorkshire. He also cycles and juggles.

A country lane runs down a gentle hill between green and yellow fields under a cloud dappled sky.
The fields of Hertfordshire
Graeme Holdsworth.

On the recent anniversary of Chaucer’s pilgrims setting off to Canterbury, the British Pilgrimage Trust held a symposium on apocalyptic pilgrimage and spiritual tourism, in a London church – St James Clerkenwell. Nick Jones, the Editor of Seen & Unseen knows of my predilection for a spiritual aspect to travel, and recommended I go along. The only problem with his recommendation was that I live in West Yorkshire, and London seemed like an expensive journey for an evening sat quietly on church pews. 

My nearest church is St James in Slaithwaite, and as St James is the patron saint of pilgrimages, it seemed obvious to turn the journey into a pilgrimage. The shortest walking distance is 185 miles and would take me a month to walk. Kosuke Koyama wrote that the speed of love is three miles an hour, the speed God walks. However, God has an eternity to travel, and I had to be back to lead Holy Communion the following Sunday. Cycling (the cheapest, easiest, and finest form of travel) would take me two days, if I took it easy and stayed in a hotel halfway. 

I love the isolation of these high places, the wilderness-ness; it is a place for crying out, and place where only God is listening. 

Not every journey is a pilgrimage. Sometimes people are just travelling. What would make this a pilgrimage rather than simply a long bicycle ride? I believe it is the intention of the heart that makes the difference - what are pilgrims hoping to achieve? Travel tends to broaden the mind, but a pilgrimage is something that might nourish a soul. There is no suggestion that every pilgrimage is religious, but when people undertake pilgrimages they are making a statement that they’re looking for something beyond themselves. For those who are religious, they’ve made space to meet God in the full knowledge that they may be disappointed. Dr Paula Gooder wrote that Christian faith sometimes focusses rather heavily on the state of a person’s soul, neglecting the state of their body. I hoped to enjoy some beautiful cycling, to re-engage with physical-prayer, and to worship God with my heart, soul, mind and strength in a whole body way. Racing cyclist Jens Voigt famously said, “Shut up legs” when the lactic acid began to burn, but what if my legs are speaking a non-verbal language understood by their creator God? Then let them shout: let the hydrolysis of adenosine triphosphate be my body praying ceaselessly, without words. 

The beginning of my pilgrimage took me south and east along the edge of the Peak District. In my planning I had relied on cycling heat-maps to find the roads cyclists preferred. As I climbed a steep hill, I remembered that cyclists are a stupid bunch who often go out and find the hardest roads to cycle. I paused for breath at the top of the climb from High Bradfield; where the Agden, Dale Dike, and Strines reservoirs were stacked up into the distance, and the call of peewits pierced through the noise of the wind. I love the isolation of these high places, the wilderness-ness; it is a place for crying out, and place where only God is listening. 

Bolsover castle was the last serious climb of the day, and from this point on the landscape became a lot gentler. Along the ridge after Bolsover, skirting around the west of Mansfield, I noticed the call of Skylarks, and that the fields had changed from drystone walled moorland to green and yellow crops, surrounded by hedgerows. Houses now had thatched roofs rather than the slate tiles of West Yorkshire. I also began to notice churches: Cottage-core villages with pretty gardens and pubs-on-the-green, their church buildings that seem well-kept, giving rural communities a sense of identity. It was around 7pm when I reached a Peterborough hotel. 

Pilgrimages are often built around the destination, but I’ve found a real joy in the interim moment; the time between setting off and arriving.

Getting up in the morning after a long day of physical exercise is not easy. Although this day would bring an end to my mini-pilgrimage, I was looking forward to the symposium and meeting other pilgrims. Evensong at St Paul’s Cathedral was to begin at 5pm, and needed an early start to make sure I would arrive in time. 

I passed a roadside marker with the distances to Huntingdon and London painted black on a white stone. The Milestone Society’ seeks to preserve these way markers which have a history stretching back to Roman times. I felt a sense of historical connection to those who would have travelled before me. 

There was next to no traffic and I was alone with my thoughts and the songs I sing to myself when I’m happy. One of the lovely things about cycling is the activity itself: we’re doing the thing we want to do, and when we’ve finished we will no longer be doing the thing we want to do. Pilgrimages are often built around the destination, but I’ve found a real joy in the interim moment; the time between setting off and arriving. 

I’m glad I didn’t just catch a train to London. I felt that I’d remembered the diversity of English countryside, the freedom of long-distance cycling, and made connections with like-minded pilgrims.

The traffic was increasing as I closed in on London, and I noticed another change in the housing. Here in the home counties the houses were getting a lot larger, further back from the road, and protected by gates and security systems. The sense of community that came from closely packed thatched cottages around an ancient church building was disappearing. Then suddenly there was an exponential shift in the cycling experience as I entered Enfield: cars, scooters, cyclists, motorbikes. The sound, and visual intensity of city living humanity swamped my senses. 

 I’m glad I didn’t just catch a train to London. I felt that I’d remembered the diversity of English countryside, the freedom of long-distance cycling, and made connections with like-minded pilgrims. I also refreshed my spiritual practice of physical prayer, and time alone with God in the wilderness. 

It was about 2:30pm when I checked into my hotel near Kings Cross, unpacked the clothes I’d brought with me and freshened up before taking a walk south to the Thames embankment. After a pie and pint in a London boozer, on the banks of the River Thames, I walked to St Paul’s Cathedral for Evensong, then joined a walking-pilgrimage back to St James in Clerkenwell. St James Slaithwaite to St James Clerkenwell completed, arriving in time for The British Pilgrimage Trust’s symposium of talks and singing. Among the wonderful speakers, it was a delight to hear historian Tom Holland as he spoke to the apocalyptic call: to be a pilgrim. 

He spoke about Chaucer, pandemics, black death, and the community aspect of pilgrimages. He joked that academic historians tend to be squeamish about attributing too much credit to religious or spiritual experiences as driving forces behind historical events. However, spiritual and religious drivers are significant: in 1033 there was a massive pilgrimage from all over Europe to the holy land, which came with an apocalyptic anxiety as 1,000 years had passed since the death and resurrection of Jesus. I reflected that contemporary anxiety of apocalypse is less focussed on the return of Christ and more on trigger happy world leaders in Russia, Israel and Iran…but I wonder if there will be a similar Christian pilgrimage in 2033. 

 

Read a full account of Graeme’s pilgrimage ride on his blog.  

Find out more about the British Pilgrimage Trust’s routes and resources.  

Review
Art
Culture
5 min read

Genesis Tramaine: the painter whose faces catch the spirit

New York's expressionist devotional artist

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

AN experessionist painting shows a face with a large open smile and many eyes.
Oh! Ye’ Faithful, 2024
Almine Rech.

Genesis Tramaine begins her presentation as part of the McDonald Agape Lecture in Theology and the Visual Arts 2025 by singing ‘Amen’, a gospel song popularised by The Impressions in the 1960s. Her presentation about her art is essentially an act of testimony, such as might be given in a Southern Baptist Church in the USA. 

Tramaine is an expressionist devotional painter from the US who is deeply inspired by biblical texts and whose work is held in permanent collections, including the National Gallery of Art in Washington DC. The large expressionist heads she paints are not representational portraits but expressions of spiritual energies and forces within the person, often inspired by and showing biblical figures and saints, as well as church people, family and friends. 

She speaks about having met the Gospel before meeting God, as she attended a strict Southern Baptist Church while growing up. She drew from the back of the church and also wrote thoughts and impressions in notebooks. She says that she loved church but that it fell out of place in her life as she grew up. 

One day, far from home and needing help, she called her Nana on the phone, who said to seek first the kingdom of God. She found quiet in herself and prayed more, finding herself in conversation with herself. On one occasion, disturbed, she couldn't sleep and was experiencing physical manifestations. At this time, she says, she saw all of herself and surrendered to God. In the morning, she read Matthew’s Gospel - seek ye first the kingdom of God. 

The words in the Bible started to make sense to her as a story reading itself to her and she began drawing faces. Her Bible had white images of Christ and Mary, so the words didn't match the images, and this was a spur to paint the women and children of the Bible revealing the beauty of black women in particular. She read the Bible in the King James Version, stopped trying to fit in and found the strength to play with and disrupt narratives. The tools and materials to do this were all one’s that she found in the Bible. 

Eyes are our organ of vision, so faces sporting dozens of eyes are those which, like the saints, achieve the greatest insight into the true depths of reality. 

Her current exhibition at the Consortium Museum, Dijon, France, is entitled Facing Giants’ and addresses these issues head-on. She has said of the exhibition: ‘I think it’s important that you paint a real narrative, an honest reflection. I don’t think [my saints] look like saints as they have been given to us...[those] were false narratives. The images of saints that we know and that are projected at us are all white with blond hair—and we all know that that is not true.’  

She has explained that: ‘These are biblical saints who have faced giants whether those giants are actual giants or giants like fear, love, acceptance or non-acceptance, the giants of facing God and not being accepted, giants of judgments… those who have sat in the mud, if you would, and found a way to persevere. And I wanted to spend as much time as I could with those energies and those narratives, as a tool of self-encouragement and as a tool of encouragement for others.’ She feels these energies literally, speaking of entering the room where she paints with a sense of a whole other people - silent saints – being present with her when she is at the canvas.  

While Tramaine emphasises the inspiration of the Holy Spirit in her work, critics have noted her stylistic closeness to graffiti art and she herself has explained that she was familiar with graffiti in her childhood in Brooklyn. Eric Troncy, Director of the Consortium Museum, relates her work stylistically to the expressionism of George Condo, Jean-Michel Basquiat, and Willem de Kooning. Tramaine, though, speaks of other influences including Sister Gertrude Morgan, Romare Bearden, and David Hammond. In the McDonald Agape Lecture, she spoke of Hilma af Klimt and Jack Whitten as inspirations, as well as gaining inspiration from the significance of the Iyoba Idia of Benin in Nigerian culture. 

One of the distinctive features of Tramaine’s portraits is the plethora of eyes that often feature. Eyes are our organ of vision, so faces sporting dozens of eyes are those which, like the saints, achieve the greatest insight into the true depths of reality. Some more recent images have also featured a plethora of open mouths and teeth. Troncy writes that: ‘Her figures, it seems, have started to smile. To shout, perhaps; to sing—why not?; and to talk—most definitely.’ 

This is interesting, in part because, when I asked her in an earlier interview about her influences, she began by speaking about her love of gospel music, including that of Jonathan McReynolds and Le’Andria Johnson. She says this Jesus focused music ‘encourages me to praise from the depth of my soul; to paint, let go and trust from that space’. While she’s ‘not quite sure what happens’ then, ‘Black folk say I catch the spirit’. She speaks of losing time as you paint, saying that you can't be present when painting as you have to trust yourself to the process, surrender, and play in the space. 

This is, in part, why she began her McDonald Agape Lecture presentation by singing. 

Her testimony is essentially simple, direct and profound: ‘I've wanted to be an artist since I was a child. I took my prayers seriously, which means I began to develop a relationship with Jesus Christ, my Lord and Savior … I asked God if I could paint and pray, help and give, as an offering of service for the rest of my life. And the paintings began to mature. I committed to the relationship that painting offers spiritually, in Jesus’ name.’ 

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