Leonardo da Vinci said, “There are three classes of people: Those who see. Those who see when they are shown. Those who do not see.” The task of the teacher is to help the student to see more clearly, not just in art, but also in life.
When I was in seminary, I realized the search for beauty was similar to the search for truth, and each generation had its own notions of what was beautiful and true. When I made this connection, a light came on in my mind and I could see what my professors were showing me. Before this, I was stumbling about in a dark room, banging my toes against unseen couches and table legs. I had the sense of the objects, but not the full understanding of them. Once the light came on, I could see these pieces of furniture for what they were–the color, design, embellishments, and placement in the space were easy to define. They were no longer obstacles, but resting points on the way to the next room on an historic journey.
Some of my compatriots struggled because one philosopher would define truth a certain way and his famous student then would describe it differently. These modern day students didn’t have art backgrounds, but thought of truth as what we know only as true today. Perhaps they also didn’t have much of an historic worldview either.
When Leonardo speaks of those categories of people who see, I think first of children, who seem naturally to see. If we give a child some art tools and a jumping off idea, they’ll run with it. Children love the experience of the materials and get excited when they can use their imagination. They feel empowered when they bring an image to life with their own hands.
Older teens and adults are more concerned about what other people think of their work, so they often won’t even begin. Other times they start and can’t deal with the disconcert between their conception and execution. Every artist who aspires to do quality work is always unsatisfied with either the concept or execution! As Leonardo once remarked, “I have offended God and mankind because my work didn’t reach the quality it should have.”
I brought seashells to class for our painting experience, but before we began our work, I had the students experience a guided meditation. The seashells were hidden underneath a cloth. This is an opportunity to know the shell personally, rather than to see it as a mere form. This “seeing” involves the inner emotions, which affect the energy and spirit with which we create our art. As the master says, “Where the spirit does not work with the hand there is no art.”
1. Study all the surfaces under the cloth before you begin to put marks on your canvas.
2. Are the edges round, rough, sharp, jagged?
3. Do you recognize this object from experience?.
4. What memories or emotions does it evoke in you?
5. What colors do these experiences bring to mind?
6. Is there a person or place connected with this object?
7. What age were you? Would you want to visit this place again at your present age?
8. Remove the cover and look at the object.
9. Does it look different now from an ordinary object?
10. Does entering into an emotional give and take open your eyes to more of the possibilities of the object?
11. Choose a “pose” for your subject and compose a portrait of its personality.
The creative life and the faith life are not just about following a set of rules, although rules exist in both worlds. These two lives are more about what is good, beautiful, and true, and how we artists as people of faith can be a blessing in the world in which we live. As in art and philosophy, the good, beautiful, and the true may be different in different times and ages, but “one can have no smaller or greater mastery than mastery of oneself.”
“I have uttered what I did not understand, things too wonderful for me, which I did not know. ‘Hear, and I will speak; I will question you, and you declare to me.’
I had heard of you by the hearing of the ear, but now my eye sees you; therefore I despise myself, and repent in dust and ashes.” ~~ Job 42:3-4
The life of one who pursues Art and Faith has many overlapping points. One of these is the search for perfection. The French artist Marcel Duchamp quit painting to play chess, saying he couldn’t create a greater work. However, he was still working on one last piece in secret in his studio. Artists are driven toward this ultimate prize, just as people of faith are called to grow towards perfection in faith and love.
The difference between perfectionism and Christian perfection is huge! The first seeks flawlessness in self, others, and in all things. I know people who get up in the middle of the night to rearrange the shoes in their closets. Shoes must not dance! While I do alphabetize my spice rack, I can leave my closet’s contents to party at will while I sleep all night. I learned from experience early on not to concentrate in any one area of my artwork, since all my many teachers drilled this lesson into my head. Overworked areas of wet paint also get muddy, for the colors blend together into a sad grey. Experience is a good teacher.
Christian perfection is a heart so full of love of God and neighbor nothing else exists. By definition, our hearts would be also full of love for our own selves, since we are made in God’s image. This is why in art class we use ABC: attitude, behavior, and consequences. Positive ABC gets praise, and negative ABC gets redirected to a better place. If we can reframe our attitudes, we can change our behaviors, and then we’ll have different consequences. Sometimes we need an attitude adjustment.
Art classes aren’t easy, but neither is the Christian life. We need to face our limitations, and this is humbling. We aren’t strong or powerful, nor have we achieved anything close to perfection in any part of our own life. This doesn’t make us bad people, but it does make us drop the false mask we’ve been wearing in the world. The best art will come from an open heart, or from transparency to God and others. We’re so used to hiding our true self from others, we think we can hide it from God also. Art will reveal our true self, however.
In Philippians 3:12-16, Paul talks about Christian perfection, so I’ll add some notes about the search for artistic perfection. In class we drew the negative or empty spaces of a wooden dowel construction I rigged up for the center of the table. I tossed in an extension cord for good measure.
Drawing the negative space is a new concept. Most of the time we’re outlining the object itself, but not focusing on the empty space. Then we wonder why our object looks cattywumpus. By drawing the emptiness, we end up with the positive figure. This is a backwards thought process. We’re so trained to look at the object, we forget the empty spaces are a design element also. Drawing the negative space helps us to find the true object in its actual location in three dimensions and translate this into a two dimensional space. This is a complex form of thinking, which is why age 9 or the ability to write in cursive has been the usual cutoff age for formal art training.
Not that I have already obtained this or have already reached the goal—by this Paul means Christian perfection, or having the full love of God and neighbor within our hearts. We artists will work all our lifetimes to achieve perfection. If we’re truly growing as artists, rather than just repeating variations on a theme, our style will change. Monet once destroyed multiple Waterlily canvases right before an exhibition, having deemed them inadequate for the show. We artists are our greatest critic. The day we’re satisfied is the day we begin to repeat ourselves.
but I press on to make it my own, because Christ Jesus has made me his own—of course, the Holy Spirit empowers this spiritual quest for complete love, or we’d never achieve this goal alone. I believe all persons have a creative spirit within them. If we’re made in the image of God, who is the creator and is creating all things new again, we must share this attribute in part. Moreover, I think of it as a spiritual gift, for we enter into the mystery of God when we let go of our ego’s organizational skills and allow a greater hand to move our own as we create.
Beloved, I do not consider that I have made it my own—the mark of a spiritually mature person is recognizing how far from the perfection of God all of creation will always be. Yet God can refine and renew any imperfection in our spiritual and physical lives. The consequences of our acts will stay with us, however.
At the end of a studio session, I sometimes tell myself, “I’ve learned all I can from this one. It’s time to go onto the next piece and do better.” I don’t expect a masterpiece every time. I do expect to learn from my mistakes. I own my mistakes! I’ll keep the work around for several months. If it doesn’t fall apart, I let it out to show. If it doesn’t sell in three years, I destroy it and move on. I can’t stay attached to it, although I once did. Now I see my work as an opportunity to share the beauty and joy of God’s inspiration with others. I’d be selfish to hoard it all to myself.
but this one thing I do—Paul stays focused on the ultimate prize, not just on the easy gains. “We have stress enough in our daily world, so why can’t we just come and be comfortable in our sanctuary or in our art class?”
If we were hot house tomatoes being prepared for the salsa factory, this might be an acceptable choice, but we’re human beings who’ll be tested and tried in the world beyond the security of our sacred spaces and quiet studios. We need controlled challenges, just beyond our reach, to strengthen us for the days ahead. Even the most famous artists will struggle with success, so having a goal beyond this world is important. The rest of us will struggle with failure and rejection, so we need to learn resilience and fortitude, and the strength of power available to us from on high.
forgetting what lies behind and straining forward to what lies ahead—most of us carry baggage from our earlier days when we made poor choices and did dumb stuff. If we don’t have several suitcases, we at least have a closet full of T-shirts from Been There Done That Land. In art, we eventually will make enough work to break out of our old patterns, or we can enter into a studio teaching environment and accelerate the process. The trained teacher gives positive criticism and guidance, just as we can give the keys to a novice driver with a licensed driver in the car. We could let the novice driver out on their own, but a cow pasture would be a safer choice for this unsupervised driving experience than a city street.
I press on toward the goal for the prize of the “heavenly” call of God in Christ Jesus.—the Greek word is “upward” call, or “higher” call. This call is more important than any other in our lives. If our only goal is to be a good person, but not loving person, we need a higher goal! Why are we satisfied with less when God is so much more of everything?
Let those of us then who are mature be of the same mind;—just as our challenge in faith is to always grow in grace and love, so our goal in life is to always grow and learn. What we fail to use will atrophy and die. If we don’t love from the depths of God’s inpouring and abundant love, our own ability to love will wither and die. Burnout is a spiritual condition first, then it becomes a physical problem. The ancient icon painters prayed as they “wrote” the images of Christ. If we offer up our time in the studio as a prayer to God, we will better connect to God’s deep well of hope and compassion, which can recreate our lives and the world.
and if you think differently about anything, this too God will reveal to you.—I happen to be a slow learner, but better a slow learner than one who never learns at all. Some of us need repeated lessons before the scales drop from our eyes, but once we see clearly, we’re zealous to convert the rest of the world. Once the flame of love burns brightly, it wants to spread and replicate itself. One light wants to set the other coals aflame. Still not everyone wants to set themselves on fire! They’re perfectly willing to watch someone else burn brightly and bask in their glow.
Price’s Law is a good example in real life. Price’s law describes unequal distribution of productivity in most domains of creativity. The square root of the number of people in a domain do 50% of the work. In a group of 100, 10 do 50% of the work and 90 do the other 50%. This seems to hold true in business and in volunteer groups. Some Elijahs love to work, but don’t know how to replicate their Elishas. They rob the future Elishas of the blessings of service.
In art everyone has to do their own work, and some have difficulty if the work doesn’t look as good as their neighbor’s efforts. Since everyone begins at a different point, each person improves from that beginning. Each has to be considered as an individual. No one is compared to anyone else, even in a graded system. Art is the best class of all, for if you work the whole class, turn in all your work on time, and meet the criteria of the project, you get an A. There is a “works righteousness” in the studio, even if we’re saved by grace in faith.
Only let us hold fast to what we have attained.—I find many folks want to quote this verse only, but not the whole of the Philippians text. They use it as an excuse to stand still without reflecting on their faith, which they inherited from their ancestors. Worse, they don’t read the Bible with a heart or mind open to the fresh winds of the Holy Spirit. Then they wonder why joy and peace are merely limited gifts in their lives. We prosper, not by material wealth, but in our relationships with one another and with God.
In art, we’d rather copy our teacher’s example and match it to the best of our ability, instead of coming up with solutions unique and personal to our own spirit. Thinking uses energy, but it also builds resourcefulness and new cognitive pathways, as well as increasing confidence.
The former is the standard teaching technique in most departments of education, but it has nothing to do with engaging creativity. Instead it assumes a single right answer, but the history of art is replete with multitudes of many answers and solutions to the questions of the moment. When we ask, “What is beauty, truth, and good in art,” we answer, “Across the years and with different artists in different cultures, it varies.”
With this in mind, as artists and people of faith, we can hold certain truths across all the years, artists, and cultures, but other truths may be variable. Certainly overworking the person and the painting hold true everywhere. Many of us hunger for approval from human sources, and work ourselves sick trying to please too many masters.
In art school I had several master teachers. One day I was drawing in an empty classroom. The department head came by and asked, “Who are you working for, me or Mr. Sitton?”
“I’m drawing,” was my noncommittal answer.
He returned a short while later to ask the same question and I gave the same answer. Not long after that, he popped his head into the door, pointed his pipe at me, and asked again, “Who are you working for, me or Mr. Sitton?”
By this time I was irritated to no end. I’d been polite twice, but this third time was too much! I snapped around on the stool and snarled, “ I’m working for myself, thank you! Now quit bothering me so I can draw in peace!”
He laughed as if I’d finally passed some rite of passage. “That’s what I wanted to hear you say the first time!” Some art lessons aren’t given in a class, and they aren’t about design and color, but about your calling and your purpose.
Who are you working for in this world: the praises of ordinary people, or the eternal voice of the master, who paints the dawn and sunset from a palette of glorious colors?
How to do it as an artist or any other professional.
Or lollygagger in the workplace.
I personally like #8—Why don’t you ever paint landscapes in normal colors?
I get this question all the time. How do we know our greens and blues of today are “normal?” We live in creation after the fall, not in God’s original creation, as God’s hand first formed it and God’s mind first imagined it. What if all the rainbow of colors was God’s Plan A for the earth?
Of course, I get a blank stare from almost everyone, since most aren’t used to thinking about the created order and our relationship to it. Even fewer think of the fall, or what that means, for this world is all they know.
If they press me on it, I tell them, “I like colors and the emotional joy they express. And I’m not fond of wide swaths of green.”
They nod. I nod. They walk away. They probably haven’t quit talking about me. A voice comes into my head, “These are not the patrons you seek. Move along now. The Force will be with you.”
We hear that same word from the Apostle Paul, spoken long ago to the people in Galatia:
“Am I now seeking human approval, or God’s approval? Or am I trying to please people? If I were still pleasing people, I would not be a servant of Christ.” (Galatians 1:10)
At some point in time, we each have to hear the inner voice and make the choice to take the well trod path or the path less travelled. Each one has its own consequences, both for ill and for good. If we make fame or prosperity into a god, we might start churning out well pleasing pieces for our market, but our creative inspiration might begin to suffer, to the detriment of our souls. This can lead to various self medicating behaviors, none of which are good. It also leads to depression or anxiety, as 1, 3, 7, and 10 incite these conditions.
We can develop the good qualities needed for our futures. Independence is a character trait of leaders. An artist spends a good amount of solitary work inside the studio, and faces rejection for many years. Cold calling for Insurance might be the only worse occupation for rejection. I’ve done both.
My old teachers used to egg me on when I was studying in art school. “Who are you working for, me or the other class?” I’d be bothered, but I’d answer, “I’m working in my sketchbook.”
About the third time he passed by to interrupt my work, I’d had enough of his gruff. “I’m working for myself–go away and leave me alone!”
“That’s what I was waiting to hear you say,” he smiled and stuck his pipe back in his mouth as he strode off. I didn’t see him anymore except when I was in class with him.
Doing art in solitude is preferable to cold calling because the rejection is at the end of the process and you have beautiful work to appreciate, whereas with cold calling, all you get is a list of numbers crossed out and the hope 3% of the people will give you a reason to call back. In all this we remember,
“Peace I leave with you; my peace I give to you. I do not give to you as the world gives. Do not let your hearts be troubled, and do not let them be afraid.” (John 14:27)
Most of us try to put our best foot forward every day. If we have the means, we want to wear nice clothes for work and put on our “game face.” In private, we might “let it all hang out” and put on our sloppy clothes, but only if we’re staying inside. This is why the pajamas at Walmart memes persist as the walk of shame from sea to shining sea.
We like our art “pretty” also. Indeed, if it doesn’t match our current decorating theme, we don’t buy it. We want our art to fade into the wall and not interact with us. If this is our attitude, we aren’t candidates for an icon in our space. The icon is meant to open up a conversation with the viewer and with the Holy Spirit. The icon opens a window into the world beyond this reality, into eternity, in which the Holy Trinity and the communion of saints live forever. While the image itself isn’t Holy, what it represents is Holy. Therefore the icon is venerated, but not worshipped. Only God is worshipped.
Because most of us like our images beautiful, we prefer gold and silver over fading and flaking. We also like polished and pleasant more than brutal and broken. This is why most of us like Christmas more than Good Friday, even though both are necessary to understand at-one-ment and atonement.
The oldest icons often show the ravages of age. Centuries of use, with smoking candle soot and oils from many hands, have worn their surfaces raw. Many of us also show the scars of Time, but we also are the image of God, just as Christ is the living image of God. We are like the ancient icons, worn and weathered. If we were given an ancient holy icon, damaged by circumstances or desecrated by human hands, we would treat it with tenderness, reverence, and compassion. We wouldn’t pay attention to the damaged parts, or to the tragedy of the act of damage, but we’d focus on what is left of its beauty, not what was lost.
Only those who are rapidly aging may be able to understand this concept, or those who’ve suffered. Yet, the Man of Sorrows icon exists for those who know life isn’t always a bowl of cherries and even the best people will suffer. The suffering servant contradicts the promises of prosperity gospel, but the icon reminds us we aren’t alone when hard times strike.
The Virgin Hodegetria and the Man of Sorrows
This double-sided icon in the National Gallery of Art, in Washington, D. C., depicts two of the most influential images in Byzantine art. On the front, the Virgin Hodegetria (“she who points the way”) gestures toward the Christ child as the path to salvation.
The image derives from a venerated model, which was legendary. Saint Luke was the purported artist who painted the original from life in Jerusalem and others brought it to Constantinople in the fifth century. Pilgrims flocked to the Monastery of the Hodegon to revere the original icon, which was paraded weekly through the streets of the capital. Widely copied, it’s one of the most common types of images of the Virgin.
On the other side is the icon of Christ after the Crucifixion, laid out for burial with his arms at his sides. This is the earliest known panel painting of the Man of Sorrows, a name taken from an Old Testament description of the Messiah: “He is despised and rejected of men, a man of sorrows, acquainted with grief (Isaiah 53:3).”
Called Akra Tapaneiosis (Ultimate Humiliation) in the Greek Orthodox Church, the subject originated in Byzantium in the 11th century in response to liturgical changes and became widespread in the medieval West. This icon dates from the last quarter of the 12th century.
The Kastoria icon imbues the traditional Virgin Hodegetria with heightened emotion found also in hymns and sermons, especially after Iconoclasm. Her sorrowful expression and furrowed brow suggest that she foresees her son’s death. On Mary’s grief at the Crucifixion, the ninth-century bishop George of Nicomedia wrote,“Who will enumerate the arrows that penetrated her heart? Who will recount in words her pains that are beyond words?” His sermon served as the lesson on Good Friday when this icon was displayed during the church service commemorating Christ’s Crucifixion.
How do you do your best work? Do you need a certain amount of order, do you like to fly by the seat of your pants and put out the fires which spring up, or do you need all the decks to be stick and span before you get started? I belong to the goldilocks crowd: I need just enough order and disorder both to work.
“In the beginning when God created the heavens and the earth, the earth was a formless void and darkness covered the face of the deep, while a wind from God swept over the face of the waters. Then God said, “Let there be light”; and there was light.” (Genesis 1:1-3)
Originally creation in the Bible began with formlessness and emptiness, while darkness covered the face of the deep waters. The land was buried under this great deep. The Spirit or breath of God was blowing over all things. Only at God’s word did light separate from the darkness.
In the studio, ideas comes up from the depths of the mind. They are hidden in that darkness, like light was first hidden in the blackness covering the face of the deep. Once we begin to work on the idea in the studio, we discover if it’s a sun, moon, or a star. It might begin as one image, but become something else entirely as we work. For instance, this painting above began as a hardedged design, more like a poster.
This is because a painting has its own voice, just as a child does. And an artist responds to the give and take of the images he or she lays down, eventually getting to a stopping point. The painting is either overdone or the artist has learned all that’s possible from this one creative endeavor. Time to go on to the next one.
The good news is always contained in the verse of this painting: Psalms 104:30–
“When you send forth your spirit, they are created; and you renew the face of the ground.”
God is always sending his renewing Spirit to those who are his children, who are his own creation. Together, we will renew the face of the earth, with the help of the Spirit who first created it.
Icon of the Hands Recreating the World: acrylic on canvas, 16″ x 20″, $100, 2017.
This is on my easel right now. Last autumn on a warm and sunny day, I took an Instagram photo below of the woods near my home. Maybe we’ll have one ofthose days again, with no rain!
The photo above is my most recent painting. I’m letting it set overnight, to see if I need to work it some more. A fresh eye will see better tomorrow. I’ve spent 4 hours on it today.
Notice I didn’t paint all the trees in the foreground. Photographic truth is different from artistic truth. We know this is the same place by the line of the hill, the placement of the bushes in the background and the staggered line of trees in the foreground. If details are omitted, we don’t worry. If the colors are varied, we understand the artist is responding to the emotions of the landscape, rather than to the facts of the site.In the same way, biblical truths may be operating in the parables and stories Jesus told us. For some people, the miracles themselves are mere “truth stories” which serve to open up the mysteries of God. For these people, science is how they understand their world, but God’s word is the way they understand how to relate to God and God’s creation.
If they can hold this creative tension in their minds, it isn’t any different than seeing this painting as a true image of the place it represents.
After all, as Jacob said when he woke from his sleep, “Surely the Lord is in this place—and I did not know it!”
And he was afraid, and said, “How awesome is this place! This is none other than the house of God, and this is the gate of heaven.” — Genesis 28:16-17
The gates of heaven are all about us, if only we have the eyes to see them. We are always within the house of God. I find this awesome, life changing, and spirit filling. Recognizing God’s presence everywhere should change how we pursue our lives, our work and our relationships also.
Actually, that’s my stunt double. Just like Chuck Norris, I’m too brave to cry. Or, the heat dries up any form of moisture that escapes my eyes. The stuff oozing from my pores is a different matter altogether. I think those 3,000,000,000 holes scattered across my body are each an eye leaking the tears our real ducts can’t cry.
The real Chuck Norris never sweats. He breaks any sweat that comes near him. Sweat is afraid of Chuck Norris, for he is the epitome of cool. How cool is Chuck Norris? We could defeat global warming if we unleashed his massive forces of chill. His sustained energy could bring down the ocean’s temperature by 4 degrees. In fact, Chuck Norris has the cooling equivalency of two Antarctic continents plus the Arctic ice cap.
Many things make my stunt double cry. Mostly they are those events, situations, or conditions that I cannot fix or make better for someone else. I spent years helping my daughter try to overcome the effects of her abuse. Others also gave their best efforts also. Her mental illnesses haves always impaired her ability to trust others or to stay on a treatment plan. Once she became an adult, she could choose, even if she didn’t make good choices, or have the ability to choose well.
I could cry about this forever, or let my stunt double have this role. I chose to grieve about this loss, shed enough tears, and find a way to live my own life by meeting the hopeless, the suffering, the despairing, the lost, the victims, and the ones “who’ve been down so long , it looks like up” to them. After all, this is where Christ met me. I knew if he could reach into my dark pit and pull me up into the light, if I offered Christ to others, he would the same for them.
When I get to the point of dragging out my Chuck Norris stunt double, I know it’s because good old Chuck is a cultural Christ figure. When I want a power for good to make a difference in my world, I call on this Texas Ranger. Instead, I should call on the spiritual power that flows through me:
“My soul clings to you; your right hand supports me.” (Psalm 63:8)
I may not be able to relieve the suffering of any one person, but I know God in his mercy understands and has compassion on all who suffer. God didn’t withhold God’s own son, but gave him up to suffer for all of us (Romans 8:32). Through this suffering we are united with those everywhere who experience wretchedness of any sort. Too often we hear that the winners of this world are our heroes, but faith tells us that those who lose their lives will gain their lives.
If we are to best grow into the Christ life, we cannot forget those who suffer while we are being healed, nor those who hunger or thirst while our stomachs are full. The real Chuck Norris would not send his stunt double to do good in this world.
Good morning! I’m back in my studio today. It’s a beautiful rainy day, just perfect for writing, but not for painting. Thanks to all who stopped by my booth at annual conference. We had our means of grace times! This gray day caused me to reflect that others might not have shared this experience:
Rain grows more flowers than thunder. While each of us might want to get back to work right away and catch up on our “missed opportunities” for ministry back home, a time of rest and contemplation might serve us better. First, we could process the events of the last few days during our time together. Did we find times to share means of grace with each other? Were we open to the call of the Spirit to stop and turn aside, or did we lurch from one agenda item to another to get things done?
Did we take time to listen to one another or did we stand on the balls of our feet, poised to flee as soon as possible? Were our minds on the business of the meeting or on the person before us?
Second, we could ask ourselves, why do we not spend more time in Christian conversation with one another outside of annual conference? If sharing our lives together is a means of grace, why aren’t we offering that grace to one another more often? Perhaps we’re too busy working, or collecting our works righteousness points, for either the Lord or the Bishop, to enter into this self care and self love for one another. All we have to do is put this on our calendars as an appointment: prayer time, accountability time, study time, covenant group time, or support group time.
After all, Jesus had the disciples to go away with into the wilderness. Surely we could go to a parlor, parsonage or coffee shop somewhere with our preacher pals. Or are we afraid of risking intimacy? Do we fear that our human weaknesses will be rejected by those that are called to offer grace to all? Or is it because we have lost the Wesleyan understanding of “all can be saved by a God who is able to save all?”
Finally, we should sit and be quiet for a while, I believe, for with the rain comes either a nurturing and refreshing cleansing or a great flood with thunder and torrents that can’t be controlled. If we are to be the “non anxious presence” at the center, we need peace and quiet to hear God’s voice in our own heart and mind.
Subjects for discussion starters:
1. All are broken and fallen in this world. If Christ came to save the sick, that’s all of us.
2. Historically scripture was used to advocate for slavery. We can’t imagine this now. We fought the “War of Northern Aggression” or the Civil War over this issue.
3. If we are going to use one sin to get excited about, we should also pick up on those sins the Lord himself condemned. To name a few: divorce, adultery, greed, stinginess, swearing, judging others, and faithlessness. (Matthew’s gospel)
We extend grace and forgiveness to constant practitioners of these activities, so we have a precedent for either deciding to include other “sinners” or excluding/purifying our pews of these additional sinners. We might all have to take up that “vile field preaching,” however.
4. God gave each of us two eyes and two ears, but had the good sense to give us only one mouth. Maybe God means we should do more listening to others and looking at the world from their side of the street, and spend very little time speaking until we truly hear the heart of the other as our own heart.
Then we can say with John Wesley ” If your heart be as my heart, then give me your hand.”
You haven’t got a prayer. Not a chance. No way, Jose. At my age, I should know better. At least, that’s what the gray hairs on my head remind me. “With age comes wisdom, or at least, experience. Leave these great deeds for the young and strong who yearn to make their mark on the world!”
Why would I listen to such sage advice from my sensible self? Creative artists appreciate a good challenge, a technical problem to solve, or a medium to master. If you tell us it can’t be done, we say, “Why not? It’s a boundary to be pushed, a line to be crossed, or a limit to be stretched.” For us, the rule is made to be broken. Traditions are useful only to guide us into new arenas of unexplored territory.
This scenario usually means Plan Alpha doesn’t pan out. At least I didn’t make it into Plan Zebra, but only because the good Lord hears the prayers of those in need.
“Hear, O Lord, and be gracious to me! O Lord, be my helper!” ~~ Psalms 30:10
I had a written plan, a sketch, which is more than most folks have when they head to Lowes. I also had a materials’ list, as well as a to do list. I thought I could execute these four 48″ x 72″ pegboard panels with three hinges on each side to make a four sided standing display stand in one cool morning.
First I underestimated the length of time to wait for the cuts on these four boards at Lowes. Only one young man was doing his harried best to cut every piece of wood for all the customers lined up to take advantage of the $1 per cut fee. Asking for help never brought another worker, for that would have cost the company more in benefits and wages than it brought in sales. Checking facebook passed the time. Then another customer let me go first. His lot was bigger and more complex than mine. Besides, down South, most older gentleman will let a lady go first. Not the younger men, however; just the older ones. It’s a passing tradition.
Getting these pegboards into my SUV are a trick. I can put a 48” wide canvas inside easily because it’s on stretcher strips. Pegboard is flexible and doesn’t stay in one place. It also gets caught on the seat belt straps. To carry these one by one is a trick itself, so I can always count on the helpers appearing out of nowhere to give me a hand. God has been known to provide mana in the wilderness and willing backs in the loading zones. I lacked an inch of space to close the back door, so I pulled my two front seats granny close. That and a push did it for us. Another fellow made sure I didn’t hit the cars behind me. I’m always thankful for help, even when I think I can handle it myself.
Arriving at my condo, I pulled the pegboards out onto the carport floor. Gravity is a great help. We can thank God for this too, as well as for curious neighbors who can’t resist getting involved. Bill helped me drill, place and screw the door hinges onto the first two boards before another errand called him away. When I stood this pair upright, I realized my afternoon would be devoted to Plan B.
All the designs and lists are for naught if one forgets that steel trumps composite wood. Yes, the hinges were stronger than the boards. Back to Lowes for more materials. Cedar fence shakes for $2.55 each were a better choice than finely finished pine for $3.25 each, plus I wouldn’t have another interminable wait at the cutting line. The cedar was already six feet long, but the pine was eight feet in length. Carrying Plan B to my vehicle was a piece of cake, maybe even a muffin top, for I needed no miraculous mana of help to materialize upon that asphalt.
At home again, Bill brought Sue ought to check on my progress, along with a tall glass of iced lemonade. I’m not sure what I appreciated more, the cool drink, the encouragement, or the extra hands to get Plan B underway. I was fading quickly with each passing hour of the late afternoon. Together we slammed that structure into a whole. As we say, many hands make the work light. As long as it’s predrilled, I can put it back together again. I even labeled the sections by number to get then in order the next day.
“How will you get it inside? How will you put it together?” My neighbors asked me. “Oh, there’s always someone who will help. It’s the way we are!” Stepping out in faith is what we do for a living. It’s our way of life. Asking for help isn’t necessary. We need only get out over our head and others will help us. God sends these folks to us. I’ve been the one sent to those in need, and I’ve been on the receiving end also.
When I drove up to our local convention center, the arena staff saw my laboring over the dolly and these boards, looked at each other, and picked up the four pieces to hand tote them to my display site. Friends helped bring in the paintings and the college students from the Wesley Foundation at the University of Arkansas at Monticello helped me build the display. I was up and ready by noon!
I may have begun this project by myself, but I had help the whole way. I had the tradition of the old masters who drew plans for grand buildings in their sketchbooks to guide me. Experts at Lowes gave me tips on hanging my works and my condo neighbors stopped by to encourage me as I worked. (They also checked on the unusual activity over at my carport, I’m sure.) I brought some young people into the trade of carpenter’s apprentice for a short term. I imagine it was different from their school books and computers. I so appreciated their energy and willingness to serve.
I met the face of God in each of my helpers, for they were each one an answer to prayer. We don’t have to speak this prayer out loud, for God can hear the silent cries from our hearts. God can answer the unspoken prayers, the deep sighs of our spirits. For our companion’s sakes, the sooner we’re in touch with our deep emotional needs so that we can voice our pain and needs, the better our intimacy and personal lives will be. Try this simple prayer:
“Hear, O Lord, and be gracious to me! O Lord, be my helper!” ~~ Psalms 30:10