Survivors of abuse work with the Methodist Church to exhibit a painting by the controversial artist, Eric Gill

Warning: this story contains discussion of sexual abuse

Annunciation is part of the Methodist Modern Art Collection (MMAC) and had been in the permanent touring collection until it was withdrawn in 2017 and placed in the Reserve Collection. It was also removed from the MMAC’s website.

Discussions re-started in 2022 about what should happen to the artwork, and the Methodist Survivors’ Advisory Group (Survivors’ Group) was consulted for its views. Extensive and careful consultations with the survivors resulted in a long-term goal of reinstating the artwork on the website, with a full explanation of Gill’s history in relation to the sexual abuse of his daughters and his sisters. Survivors felt this artwork should not be hidden away or “swept under the carpet” as sexual abuse has been in the past.

Sarah, a survivor said: “Discussing sensitive topics such as abuse can be challenging. Traditionally, people have tended to avoid the subject, conceal it, or overlook the perpetrator's actions by focusing on their positive accomplishments. As survivors, we saw the Gill painting as an opportunity to change this narrative. Instead of hiding or selling it, we wanted to use the artwork to start conversations about abuse, acknowledge the victims, confront historical abuse, and discuss its intersections with faith.”

The project initially focused on the Annunciation watercolour and how the survivors reacted to the work. Many of the Survivors’ Group felt uneasy at the way the characters were portrayed in the painting.

Sarah said: “Gill's painting, Annunciation, feels unsettling, especially considering the artist's history. It depicts Mary as small and vulnerable before an overpowering male angel in a claustrophobic bedroom with a single small window. Contrary to the Bible's message for angels to calm those they visit, this piece evokes fear.”

Another survivor commented: “The Angel Gabriel appears intimidating, looming over Mary into her personal space – in her actual bedroom. Mary is kneeling, submissive, controlled – there is only a small window and no escape, suggesting sexual posturing.”

As the project progressed, the survivors hoped to see the work put on display again and in 2024, the Chair of the MMAC Management Committee, Professor Ann Sumner, approached Ditchling Museum of Art + Craft in East Sussex. They expressed interest in a partnership and agreed to work together to explore Gill’s work which resulted in a co-curated display. The survivors visited the museum to see relevant works by Gill, which gave some context to Annunciation.

From the start of the consultation about the exhibition, the survivors have been clear that they wanted to feature the lives and creative work of Petra and Elizabeth (Betty), the daughters who were abused by Gill, so people will know of their skills and talents.

Vivien, a survivor, said: “The daughters are a part of the story, in fact the central part of the story. Gill was just a perverted abuser who thought, because of his fame as an artist, he could take advantage of his daughters and others. Telling the daughters’ story is very important because it shows that in spite of the abuse they suffered, from the person who should have nurtured them, they still made fulfilling lives for themselves. People always remember the name of the perpetrator, which is important so they don't forget, however those they've abused are pushed into the shadows and sharing the daughters’ story brings them back into the light.”

Sarah said: "Too often, the focus of any crime is on the perpetrator. Serial killers or serial offenders receive notoriety, becoming famous, while the victims often become nameless faces, known only by what happened to them in relation to the crime. We wanted to change the narrative, showcase who these women were, their lives, interests, loves, and achievements, and celebrate them. Being a victim of abuse affects you for the rest of your life, but it is not your whole story or identity.”

A survivor, who wishes to remain anonymous, said: “We felt strongly that we wanted to include the daughters’ works and stories to show that survivors can succeed in overcoming abuse and, more importantly, are people in their own right. They have thrived and created their own lives despite what they experienced and that should be the story we tell. Too often the focus becomes just the perpetrators not their victims.”

Acknowledging that not everyone will agree with the decision to exhibit the work, Fiona, a survivor, said: “The picture can only be retained if it is always contained within the acknowledged context of Gill’s history of sexual abuse. No more pretending it didn’t happen, or it doesn’t matter. Ownership of this piece is a moral challenge to the Church, and for too many years the Church has hidden from the challenge of moral accountability in responding to situations of abuse. In having to deal with this picture, the Church is having to deal with its own legacy of avoiding the issue of abuse.”

Professor Ann Sumner, Chair of the Methodist Modern Art Collection Management Committee confirmed: “This is a genuine co-curation project in which the survivors have led on all decision making. They have helped us look anew at our watercolour and been part of new research looking at the Diaries of Eric Gill again together to understand more about Annunciation. When the exhibition opens in Ditchling this will be the culmination of a three-year project during which time we have all learned much, developing relationships and knowledge. No longer will our work be hidden away in our Reserve Collection but it will be fully acknowledged in the context of Gill’s life with the observations and interpretations of the Survivors’ Group. The MMAC Management Committee sees this innovative approach in the context of community co-curation in the future and new and ground-breaking ways of working in partnership with diverse groups.”

The Revd Dr Jonathan Hustler, Secretary of the Methodist Conference said: “Getting to the point where this work of art can be on display again has been a difficult and costly journey. Huge credit is due to the Methodist Modern Art Collection Management Committee under the leadership of Professor Sumner for the careful engagement with the challenging questions Gill’s legacy has created. This has been an imaginative and possibly prophetic solution to what seemed to be an intractable problem. The Church owes a debt of thanks to the survivors for the gracious way in which they have walked with us on this. We are also grateful to our partners at Ditchling Museum of Art + Craft for their expertise and sensitivity with this project.”

The Methodist Church is committed to safeguarding as an integral part of its life and ministry. Safeguarding is about the action the Church takes to promote a safer culture. This means we will promote the welfare of children, young people and adults; work to prevent abuse from occurring and seek to protect and respond well to people who have been abused.

If you have been affected in any way by abuse connected to the Methodist Church and would like to speak with someone, please make contact with the Safeguarding team who work with victims and survivors of abuse. If you wish to remain anonymous this will be respected.

• Phone: +44 (0) 20 7467 5189
• Email: Safeguarding@methodistchurch.org.uk