How many colors exist in creation? Many more than we can buy in a tube at the art supply store and even more than the number of paint chips at our local building supply store. Recently I gave my adult art class an assignment to use their primary colors and white only to mix new colors, since I noticed they were not getting middle values in their paintings. I too enjoy the brightness of the primary colors, so this was also a challenge for me.
Power of the Cross
The following week I needed to do less geometry and more nature, but I came back to the cross theme once again, for these flowers are from a photo of the Easter “Living Cross” at my church. While we can’t see the arms of the cross, anymore than we can see Jesus today, we know the cross is there, just as we know Jesus is present for us in the power of the Holy Spirit.
This makes Christ alive, not only in our hearts, but also in the lives of all who suffer: the poor, the immigrant or stranger in our land, and the oppressed. Even the land itself, which suffers from human caused climate change, can be a place where we meet the living Christ.
The Garden of Gethsemane in Jerusalem is a powerful place, for it was where Christ was handed over to his captors by a former friend. From there he went to death on the cross and resurrection for our salvation. This garden retains this energy of struggle: Jesus prayed to get his will in line with God’s will.
If the story ended here, we’d have no living crosses full of beautiful flowers on Easter Sunday. Out of pain and struggle comes great beauty. Most of us will avoid any challenge in our lives, thinking the easy way is the best way. Intentionally causing others to suffer pain isn’t acceptable for moral reasons: “do no harm” is a good adage, as is “do unto others as you would have them do unto you.” Setting achievable goals and challenges are different. These cause us to grow. They may also cause us discomfort, but this isn’t pain.
On this canvas, Spring Flowers, I had to overpaint and scumble to create the textured grays of the background. I even had to repaint the wispy border flowers several times to get their petals colored and straight, plus to get the ground varied enough to make them stand out.
One of the artists I most admire is Picasso, for he was always reinventing his style. Today artists pick a style and stick with it. Perhaps this is lucrative and makes economic sense. Still, I wonder what happens to the creative spirit when it’s not nurtured, challenged, and expressed. Of course, this may be the difference between a great artist and a good artist, and only the centuries will tell which among us now will be great.
We had a bright taste of spring in last Friday’s art class with the yellow daffodils from Gail’s yard. She and Mike have come a long way in their powers of observation and rendering. They take their time to see, study, and really observe intentionally whatever objects are before them. These two students have been to most of the 26 classes to date, beginning back in June 2018. They’ve come a long way.
We can get lost in the busyness of the world with all the competing claims for our attention, but if we take our time, breathe, look for the most important things first, and then deal with the details, we’ll usually have a better outcome. This is an art studio principle we can carry over into life.
I happen to be doing something entirely different. It’s a woven painting, from two old works I’m no longer keeping. As part of my recycled/resurrection series, it belongs to a theme of change. In Luke 9:51, we hear
“When the days drew near for him to be taken up,
he set his face to go to Jerusalem.”
Sometimes we have to set our minds on what God wants for us and deal with the consequences. As we head into Lent, I recognize as a teacher most students today don’t want to suffer, but want the prize of achievement without the sweat of practice. Some say 10,000 hours is the mythical threshold to acquire competency.
Will we then all be Leonardo’s, Picasso’s, or Monet’s? Some of us will work 100,000 hours and still be ourselves, but we’ll be so much more than we were when we began! It’s like the Christian life: if we aren’t intentional about giving ourselves into God’s service, we won’t practice it often enough to grow in love and grace.
I had a dream about this image I’m working on now. Jesus knows the cross is before him. He’s already seen it in his mind. When he goes down to Jerusalem for the Passover, things won’t go well for him. He can go to fulfill his mission or turn tail and run. The prelude to his ministry was the temptation in the desert, which we remember during Lent. He goes forward to the certainty of his ministry and also his death and resurrection.
DeLee—Face Set Towards Jerusalem”
Those of us who like Easter, but not Good Friday, will one day have to deal with suffering: our own, someone’s we love, or the suffering of humanity. We can’t escape suffering, for it’s part of the human condition. Some of it we choose, like training for sports, but some is visited upon us unkindly, such as the dread illnesses and wars of our world. Some were born into suffering by geographic location, and this causes mass refugee populations to move across national borders in search of hope and opportunity.
When we’re painting these pretty pictures of flowers, we can think of those who have put their hope in God’s hands and remember we are Christ’s hands in God’s world.
My weaving is a dream image of a transformational point in time when you see what is both before you and behind you. You choose to go ahead anyway, even knowing the consequences. Both the hero and the artist have to risk the danger. Otherwise we’ll paint pretty canvases for nice homes and be the Christians who wear our decorative crosses, but we’ll never bear the cross for the sake of Christ, his kingdom, and the better world God calls us to recreate.
The Christian life calls each of us to be a hero, one who suffers on behalf of another. If our lives are too easy, we aren’t walking like Christ. We aren’t called to suffer at the hands of another, or to be harmed by others, but there’s a real need in our lives for “structured and guided suffering in a safe environment,” such as learning a new skill or getting outside of our comfort zone.
I carry my phone when I walk, so I always have a camera for the scenes of beauty which catch my eye. Since light is ephemeral and these moments are fleeting, catching them as they occur is important. When I come home, I often photoshop the image on my computer or in Instagram to get the emotions, which I experienced when I took the photo.
Winter Lake Reflections
Several winters ago, I took this photo. By the time I painted it this year, I was feeling more optimistic. Back then, I didn’t know if my daughter was alive or dead. I lived in hope, but I also was holding onto some fear, for I knew her drug addiction was going to be difficult to overcome.
The Cloud Rising
This is my most recent landscape. The cloud always reminds me of God’s appearance! Then I think of this verse in Job 38:34, when God asks Job, who’s been questioning God’s intentions and reasons—
“Can you lift up your voice to the clouds,
so that a flood of waters may cover you?”
Poor Job, he’s not God. And neither are any of us. We’d like to make sense of the senseless, right all the wrongs, put order to all the chaos, and make things the way they should be. Of course, if we were in charge, the world would have gone to hell in a hand basket much sooner than it has already.
Maybe we should reread Job 42:3—
‘Who is this that hides counsel without knowledge?’
Therefore I have uttered what I did not understand,
things too wonderful for me, which I did not know.
In our world today, many changes are happening. Some of us want things to be “the way they used to be.” This would make us feel better and be more comfortable with a known world, but God is always recreating God’s new world–
“For I am about to create new heavens
and a new earth;
the former things shall not be remembered
or come to mind” (Isaiah 65:17).
If we are people of faith, we can trust in our God, whose Son Jesus Christ is the same yesterday and today and forever (Hebrews 13:8). If Christ is the same, then God is the same, and so is the Holy Spirit. Does this mean our understanding of the Holy Trinity never changes? No, this means God’s love and mercy for us never changes! We think we can fall outside the bounds of God’s love, but this is only because we have short arms and can’t include all others within our embrace. Just as the water reflects the sky and earth above it, so we’re to reflect the attributes of the holy image in which we’re created and demonstrate the qualities of the heart and the same mind that was in Christ Jesus (Philippians 2:5).
Job, who was well respected and honored in his community, was enamored of his ability to assist others with their needs. He was a big man who used the blessings from God for good purposes. When he lost this status, he was upset. Once he met God face to face, he realized he’d been giving lip service to God, but didn’t actually know God. Many of us today know about God, but haven’t had an encounter or experience with the living God. We can’t reflect a love which we’ve never received, and we can’t share a forgiveness we’ve not known. Perhaps our first work is to seek God’s generosity for our own lives, so we can reflect it outward in the world toward others.
Most of us separate our lives into doing and being: we are creatures of comfort at times, and then we expend energy doing chores or work at different times. We live bifurcated lives, even if we’ve heard the admonition to “pray without ceasing” (1 Thessalonians 5:16), we work without prayer and pray without working. Then again, some of us have little connection with the spiritual at all, so we miss the mystery and the awe of the dimensions beyond this mundane world. We’re unable to see even the glory and beauty of the creation, since we aren’t connected spirituality to a life beyond this world.
Christ Overcomes the World
The iconographer is more than a painter or a writer: he or she is one who connects this material world with the spiritual world beyond. The icon is a window through which the heavenly and the earthly worlds communicate. It’s like a wormhole, of sorts, in sci-fi language, or a portal passage for direct communication. Of course, we can directly communicate with the Holy Spirit, but not being able to see the Spirit, we can see the icon’s representation of the image of Christ or a saint, and this helps us to focus our thoughts and prayers.
Some say a candle would suffice, or a text from Scripture, and I agree. Yet not everyone is able to live such a spare life, reduced of images, color, and beauty. Minimalism isn’t for everyone! This is why we have zen gardens as well as romantic English gardens. Some of us need architectural modernism and others like quaint country clutter. The icon tradition comes from the ancient church, for Luke was traditionally ascribed to be the first iconographer, as well as one of the first gospel writers. He painted Mary “the God-bearer” and Jesus.
Our art class is moving out of its comfort zone in the painting of icons. We can learn about the spiritual life in the art class every time we meet. In fact, every time we try something new or challenging, we learn about ourselves and the spiritual life. A close inspection of the gospels shows a Jesus who was always challenging the status quo. The only time he was comforting people was when they were dispossessed, marginalized, or disrespected. “Blessed are the poor…” was his first choice, not blessed are the rich or powerful!
When we are weak and powerless, when we struggle and fall short of success, and that will be. Every. Single. Day. In. Art—We are then most able to lean on the one who for our sakes became weak so we can become strong. Then we’ll come back and fail again and remember the times Christ stumbled on the rocky road to the crucifixion. What seemed like a failure to everyone gathered about, and didn’t make logical sense to wisdom seeking people, nevertheless served a higher purpose. By uniting all of our human failures and faults in one person, God could experience all of them in God’s own image, the icon we know as Jesus Christ.
If there’s any reason to attempt a Holy Icon in this modern world, we paint and pray to unite our work and spiritual into one. Usually only the clergy have this privilege, and they can too easily burn out if they do too much and pray too little. Lay people underestimate the amount of prayers necessary for effective work. The older I get, the more prayer time I need. Of course, work takes more out of me now, but I’m a refugee from the dinosaur age. I used to be an energizer bunny back in my fifties, but working thirty hours a week painting and writing is enough for me today.
Any art work, whether a landscape, portrait, or an icon, can be alive or dead, depending on how the artist approaches the work. If we draw the lines, fill in the colors, and never pay attention to the energy of the art itself, we’re just filling up time. If we’re thinking about our grocery list, what to make for dinner, or the errands we have to run, we aren’t on speaking terms with our artwork. On the other hand, if we’re paying attention, sharing in the conversation, listening to what our work is telling us, we can respond to the push and pull of the conversation. Our work will tell us what it needs if we’ll only listen to it. If we trust and listen to the Holy Spirit, we’ll paint a true icon, and the window into heaven will open for all who want to listen.
My latest icon of the face of Christ is based on the Napkin of Christ or The Image Not Made by Human Hands. The tradition tells us the Lord washed his face on a cloth and the image of his face transferred directly to it. King Abgar took the image bearing cloth to Edessa and hung it above the city’s entrance, where the people venerated it.
For many years afterwards, the inhabitants kept a pious custom to bow down before the Icon Not-Made-by-Hands, when they went forth from the gates. When one of the great-grandsons of Abgar, who later ruled Edessa, fell into idolatry, he decided to take down the icon from the city wall. In a vision the Lord ordered the Bishop of Edessa to hide His icon. The bishop, coming by night with his clergy, lit a lamp before it and walled it up with a board and with bricks.
Years later, when the city was under siege, the Virgin Mary appeared to the presiding bishop with the instruction to reveal the old icon. Not only was it found, but also the lamp, and a copy etched into the wall itself! This miracle saved the city.
We know “that the creation itself will be set free from its bondage to decay and will obtain the freedom of the glory of the children of God” (Romans 8:21), for Christ came not to save only humankind, but to redeem all creation. Sometimes when hurricanes, floods, fires, and other natural disasters make the news, we might think nature is disordered, dysfunctional, and we can despair for any harmonious sensitivity to the only planet we can call our home.
For some people of faith, because their “citizenship is not of this world,” they see no reason to care for our world, yet God created this place for us and our children and their children. We don’t own it, we merely care for it, as good stewards for the generations to come and as servants of our creator. If our world is to be lush and green, as well as clean and blue, we must love it as if it were the body of Christ, even though the world isn’t divine.
God is still going to “make a new heaven and a new earth,” but we don’t have to destroy the one we already have just to get God to prove God’s powers over our stupidity. We could choose to participate in the recreation of the new earth and let God finish the task at the right time. Then we’d enjoy the fruits of this better world and share it with all our neighbors around the earth.
As Paul reminds us, “We know that the whole creation has been groaning in labor pains until now; and not only the creation, but we ourselves, who have the first fruits of the Spirit, groan inwardly while we wait for adoption, the redemption of our bodies. For in hope we were saved. Now hope that is seen is not hope. For who hopes for what is seen?” (Romans 8:22-24)
One of the most difficult struggles in art, sports, faith, or anything else in life is knowing what you want to achieve, but finding yourself lacking the skills to accomplish it. Some people give up right away, since they can’t master it well. Art takes a lifetime to master, so even the best of us will be struggling to get better until our last breath. Perfection is highly overrated! All artists are their own worst critics! At least in faith we have God as our coworker.
In art a beginner can set aside this quandary and say, “Well, I just need more practice and I’ll get there soon enough.” The intermediate practitioner contends with a little more skill, and could push his or her technique over the edge attempting to discover the heart and soul of their expressions as they seek their own way to speak of the beautiful and the true in color and forms.
Sometimes a seasoned artist comes to a growth point. Even one who, perhaps from their past work in a certain style, has some following and financial success, when they come to the daily search for truth and beauty, will discover the old beauty no longer attracts them. So while they may have all the technical ability to continue creating their old works, they find this no longer is their truth and they can’t in good conscience continue to produce in the same vein.
Our Still Life
The search for truth and beauty is like the search for God and our inner truth as artists and people of faith. If we’re only working for fame and gain, maybe we should have listened to those who said, “Don’t quit your day job.” Or thought of Rembrandt and Van Gogh, who found both success and poverty, but at different times. Our inner search for truth and beauty is just as fraught.
Will we take the risk and try something new? This week l brought the class a shade of my former self, no inspirational paintings of old masters, and only a variation on last week’s still life. Afterwards I was traveling up to the doctor‘s poffice for “the cure to end my misery.” After a few days on sinus medications, I can hold two thoughts together again.
To really look at life and look inside oneself is the best way to discover truth and beauty. Some folks don’t want to look inside for fear they’ll see ugly things, long buried secrets, pains, and memories best forgotten. We need to see these, recognize them, and let Jesus take them into his already redeemed life. If we can let these painful parts be transformed by his graceful healing mercy, then we can use his renewing power in our own lives to bring truth and beauty to the life of others.
Some people look out and only see ugliness, decay, and despair. I imagine if they look inside, they also see the same things. They need to remember the nature of all things is not in itself beautiful or ugly, just as they themselves aren’t ugly or beautiful. Beauty is a standard, like a Virtue, which is an ideal characteristic, and it’s beyond anything here on this world. We’ll probably understand Truth and Beauty in the eternal world, when we have the opportunity to participate with God in the fullness of time.
Gail—Day of the Dead image in process
If beauty were only to exist in the eye of each and every beholder, and each one of us could determine our own standards of beauty according to our own experience and criteria, then all the plains would be level and no mountains would exist. Yet, we know this isn’t so, for my icebox door may be decorated with my grandchildren’s crayon drawings, but they wouldn’t be hanging in an art gallery in any creative district anywhere.
Mike—Basket of Veggies against a Yellow Wall
If art isn’t a challenge, if life isn’t a pursuit of excellence, and if we are content to rest at the foot of the mountains, then I really wonder why God created the heights, if not for us to aspire to them? If there’s mountains in this world, why are so many content to climb just the hills, but call them mountains? Most of the struggles we have in life are actually molehills, but we blow them out of proportion and call them mountains! The biggest successes come from the accumulation of many small failures. We’re just training until we hone our muscle memory to a fine edge. This is why we say works can’t save you in faith, but art is all about the work ethic.
DeLee—Work in Progress
Our biggest challenge this week in class was the woven basket. Some of us had never woven anything in youth groups, so experiences I took for granted as a child growing up (weaving situpons and potholders) weren’t in some people’s backgrounds. Learning to look, follow the weave, see the play of light along the wave of the reeds, and the shadows as they dip under the warp bands took a bit of doing. We’re also beginning some Day of the Dead related works. We’ll work in these in October. I was so sick, I failed to photo everyone’s work. I should be in better shape next week!
Joy and Peace, Cornelia
For now we remember, as the apostle Paul sighed,
“For I do not do the good I want, but the evil I do not want is what I do.”
~~ Romans 7:19
And he leaves us with these words of hope,
“We know that all things work together for good for those who love God, who are called according to his purpose.”
~~ Romans 8:28
If we do the same thing over and over again, we’ll get the same results. Most of us will take the same road to our favorite restaurant, choose the same menu items, and call it a night at about the same hour. We are that predictable. A certain structure in our lives is necessary to keep us on an even keel. Mass marketing depends on people like us, since we have reliable and time tested tastes. Great art is different from the decorative arts, however, and it’s unlike the mass produced pieces which are good for covering a section of a wall in an office or residence.
Likewise, if we want to break through from the ordinary to the better, or if we want to improve upon our former work, we have to break our old habits and train ourselves in new habits. Why do world champion golfers reconstruct their swings in the middle of their careers? Their bodies are aging and changing. They can no longer swing with the abandon of younger and more limber persons. To continue playing at a high level, they must learn anew. This learning, forgetting and learning again is related to John 12:24–“Very truly, I tell you, unless a grain of wheat falls into the earth and dies, it remains just a single grain; but if it dies, it bears much fruit.”
DIANA—Painting with a Bell Pepper
In art classes, we’re always unlearning our yesterdays and starting over with fresh eyes and a renewed spirit in the morning. The day we start repeating ourselves, we’ve decided we’re good enough. We’ve settled, rather than continuing to push on to see how far we can go. Some of us will do this because we’re finally making a living. No one can fault this. Taking care of our families is important.
GAIL—Painting wit an Okra Pod
Yet if we fail to care for the artist within us, if we aren’t reaching deep within to wrestle with the challenge to risk trembling on the edges of beauty and chaos, we won’t be happy coloring canvases to satisfy the needs of those who see our art as an appendage to their furnishings rather than an object in its own right.
MIKE—Trees Painted with a Sweet Potato
The art class was somewhat nonplussed when I suggested we use sweet potato slices to print or paint with, as well as the big pretzel rods. Gail brought some large okra from her garden too, so we added this to the equation. If we always draw with the pencil and fill in with the paint brush, we get paintings which resemble coloring books. Then they came up with some original solutions. I knew they had it in them!
DUSTIN—Bowling Pins shaped like Sweet Potatoes
Mike used the actual potato as a paint tool, while Diana used the cut okras as textures and patterns. Dustin took the shape for bowling pins, and Gail doubled up sweet potatoes for mountains. I discovered the woven surface I was using wasn’t really conducive to the printing process, whereas the flat papers the class used worked fine. I got enough paint on it to get started and finished it at home.
CORNELIA—(Sweet Potato) Cloud on the Horizon
In Richard Rhor’s book, Immortal Diamond, he says, “Your True Self is that part of you that knows who you are and whose you are, although largely unconsciously. Your False Self is just who you think you are—but thinking doesn’t make it so.”
In art, we practice over and over again, until we can drop all the artifices of the False Self (the constructs which the world rewards) and work freely for the rewards which are pleasing to God. To do this, we need to allow ourselves to be freely loved by God and let ourselves freely love God’s entire creation. If nothing is outside God’s love and providence, then we too are called to love and care for God’s creation. This attitude will show in our art and heart.
In faith and art, we’re always dying to our old self and rising to our new self. Therefore we won’t be imitators of others, but we’ll be conformed instead to the image of God.
Do not lie to one another, seeing that you have stripped off the old self with its practices and have clothed yourselves with the new self, which is being renewed in knowledge according to the image of its creator.
In art, beginners can get so caught up with drawing the forms and representing reality, they lose sight of the emotions and meaning of their work. Small children, on the other hand, will take an idea such as a snowman in a snowstorm, and completely obliterate their surface with white swirls until all sight of the ground, the snowman, the house and the children who built it are covered up. Their work is more about the experience of the falling, swirling snow than it is about the distinctive parts. We hang this on our refrigerators and exclaimed with amazement when they tell us the story.
In a year, they’ll be interested in the separate objects and have a well defined ground and sky, even if their objects aren’t in realistic proportions. The proportions are sized according to the child’s interest, and by age 12 most children want to create drawings with realistic perspective and images. Sometimes as they age, they begin to lose their sense of magic and mystery, and need their imagination primed more, but this isn’t impossible.
Adults often have difficulty using their imaginations, for they’ve had too many years of completing to do lists, getting things done, and unfortunately, much work is mind numbing. Some of them also are products of schools that taught to the test and to the “right answer,” rather than teaching thinking or logic skills or creativity.
The disciples asked, “Who is greatest in the kingdom of heaven?” Jesus replied, “Truly I tell you, unless you change and become like children, you will never enter the kingdom of heaven. Whoever becomes humble like this child is the greatest in the kingdom of heaven.” (Matthew 18:3-4)
For us as artists or as people of faith, to enter into the humility of a child is a counter cultural act, both today and in ancient times. We don’t find self help gurus preaching simplicity or poverty, but we do find plenty selling the siren call of prosperity and power. Jesus always speaks of the least of all as being the most of all, which is why the smallest child has more honor and greatness in the kingdom of heaven than the most important citizens of this world.
Some of us hear this text as a call to never question the faith we learned as a child. Unfortunately when we hit the stumbling blocks of adulthood, we find our simple faith’s pillars of belief are on shaky foundations. We can either crash and burn, or we can ask the questions of trusted and learned guides who have gone on the path before. Then we can shore up our foundations with mature understandings, or remodel our understanding so we can live with joy anew.
In art, we can either repeat the same forms over and over, or we can critique our work. In the school I attended, we had a routine—the first three comments had to be positive, then the next had to be those which needed improvement. Since we never called anything “bad” or “wrong,” the person on the hot seat never felt diminished. “You could have darkened the background more, so your foreground objects would have been more prominent.” This is better than saying, “You didn’t make the objects in front stand out,” since it doesn’t offer a solution.
It’s humbling to receive criticism, even positive feedback, because we want to be accepted just as we are, especially in faith. Yet Jesus didn’t die on the cross to leave us just as we are (justifying grace), but rose from the dead to perfect us and make us holy, just as he is (sanctifying grace). In faith, we come as humble children to grow in grace before God and to come to full perfection of love of God and neighbor that is entire sanctification. In art, we work each day to join our hand, our hearts, and our vision into one spiritually inspired whole. The more we know ourselves and can connect with the spirit of the creating God, the better we’ll make art with an inner life.
Sometimes in art, we decide to repeat a certain set of forms because we get approval from others for our work. We do this to the danger of our very lives. While we may continue to sell our work and earn the acclaim of critics, if we aren’t pushing the boundaries of artistic creativity, we are stagnating and not growing. The greatest artists–Picasso, Rembrandt, Matisse, and Michaelagelo–never quit growing. In faith, we work out our own salvation with fear and trembling, knowing “it is God who is at work in you, enabling you both to will and to work for his good pleasure” (Philippians 2:13).
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.
PAINTING FASTER ALL THE TIME
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.
SUN, MOON, AND SEASHELL
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.
MIKE, negative image & DUFY, GATE
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.
GAIL, negative image & DUFY, Room with Window
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?