Curators of Glory

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Curators of Glory 

Can we stop?

Can we stop seeing ourselves as human?

Can we stop defining ourselves by darkness?

Isn’t there more to who we are?

More than tears

More than heartache

More than scars

Why have we stopped looking upward?

Why have we stopped reaching high?

Who taught us to cower in fear?

Who told us to run from the sky?

Could we rewind?

Could we escape the confines?

Untwine the vines that prevent us from rising up

Or will we remain in the night?

Fog blocking our sight

Living in these disguises

Refusing to see what our life is

We are more,

More than the sores covering our faces that have driven us to the floor

More than the lies that we pick up on our way out of the door

We can reach high,

Knowing that there will be a hand to greet ours

That no one can shake or thrust

A song to be sung over us

This is our story

Imperfect, broken and constantly sorry

But we are Holy

Creations of the Creator

Curators of Glory

Can we stop being human? 

The above poem and photograph were inspired by the concept of identity, one that we spent a lot of time discussing in our Art and Christ class. We spoke about the meaning of identity for the Christian artist. What does it mean to be an artist in a secular world, but also a creation of the King desiring to reflect him through your work. We read about countless perspectives and approaches taken by different artists. He heard from guests speakers such as Kurt Simonson and Cory Beals, and traveled to the Mt. Angel Abbey to hear from Brother Andre Love, Museum Curator and Icon Painter. I have learned so much about myself as an artist. I have learned that it is okay to not have it all figured out. I have learned that if I am faithful in my art making, God will find a way to make it reflect Himself. Most importantly I learned that I am a curator of glory and I should live accordingly.  

Reading 5- Who Do You Say I Am?

Some of the art presented in this chapter:

Jan Van Eyck- The Last Judgment

Catherine Prescott- The Artist as a Young Man: Portrait of Peter

Leonardo Da Vinci- Cartoon for the Virgin and Child with St. Anne and the infant St. John

Some of the quotes I found interesting, along with brief reflections:

"Artists who are Christians find they have membership in two subcultures, and participate in two institutions that have markedly different views of how to order one's life and determine what counts for the good, the true and the beautiful." (Pg. 308)

- This statement is so true, especially considering myself as a liberal. Many of the people I spend time with are fairly liberal in their views as well, and sometimes I feel like there is a real gray area in between what society believes, and what I know to be true. So many things could go either way, but many things are also ultimate truths and its hard living that way... as a citizen of two different cultures. It reminds me of my dual citizenship, I am both a citizen here and in the Dominican Republic but when I am there I feel that I have to "abandon" my American ways. I have to pop my personal space bubble, I have to forget about punctuality, etc. I wish both worlds could exist in harmony, but that will likely never happen.

"Christian colonizing dresses up the arts in acceptable church clothing, and is akin to the early settlers 'Christianizing' Native Americans by having them dress as Europeans. It ignores the legitimacy and integrity of art that does not have a Christian message, or is deemed uplifting in its effect." (Pg. 308)

- This is unfortunate. Although I personally create concepts that have spiritual meanings, I think any art that is thought provoking and tastefully done should be allowed in the church and within the Christian body. How can a piece of art really move a audience is there is always a conservative filter on it? I shouldn't have to dress my art in "church clothing" or subdue my concepts because they might offend someone. I think sometimes the very things that we are afraid of can heal us.

"Our identity is grounded in and conditioned by the fact that we are created by God, bear His image, and are known by Him. That is to say, our identity is circumscribed by our creatureliness, and charged by the capacity we have to know and interact with God." (Pg. 309)

- Amen (See video link below)

"The artist does not make art as one would work a job, with set hours every day, and an entrance into and exit from a work world and a work consciousness. Everything in the artist's life may be part of the artistic process, or the subject matter for the art." (Pg.313)

- Although there is an exception to this statement, as there is with anything really, this holds truth. Most artists do art "on the side" along with a more regular job that helps make ends meat. However, when we do create work we pull from all aspects of life, which is so cool. We literally have the whole world as inspiration, I wonder why we so often lack it. I was hanging up a shirt to dry this morning, and it was quite translucent, so the sun shone through it beautiful. From that experience I started writing out ideas for a photography concept. Not many people can do that, but artists have that capability.

"...Art does reveal something about the artist. One cannot make something without exposing his or her interests, tastes, and skills in some way...artists also make conscious choices, and have the capacity to create fiction. They may choose to conceal, exaggerate, distort, or fabricate. So I believe it is a risky proposition to think that you learn a lot about artists by simply looking at their art." (Pg. 314)

- Speaking strictly about my art, most of it are stories I have heard, things I have experienced/feelings I have had conceptualized. So one could possibly gather a lot about me and my story. I sometimes create fictionally, but most everything I create has a deeper/spiritual meaning, and connects to me in some way. However, I understand what he is saying. Don't judge an artist by their art, because it may not always reflect them as a person, and I agree.

"The making of reputations is a parallel but separate process from the making of art and is a form of art-making in itself." (Pg. 316)
- This is really interesting. I don't think about this enough. The idea of creating art that will give me a good/interesting reputation and draw in the art world. For me creating art is a very personal thing. I do it to further understand myself and others, but also to serve others and their life stories. I think I have a different outlook on art-making, but I still understand the importance of the reputation.

"In our culture 'interests' has built into it the idea of arousing curiosity, standing apart from the ordinary, and having or doing something that attracts attention. In our media-saturated culture, where so many voices compete for our attention, arousing interest is the first step towards getting publicity." (Pg. 317)

Once again, this is a hard truth for me to face because I want to believe that it is all about how much heart you put into it, or how truthful the concept is, but that just isn't what our society craves; at least they don't know it yet. I was walking through Portland Art Museum this weekend and there was so much work that I felt like didn't belong there. Art pieces that I could have done better myself. I realized that regardless of the quality of the work, these artists had made a name for themselves in the past. They had aroused interests which allowed for all of their future work to flourish, no matter how bad. I guess arousing interests is something I need to work on.

"So it is not that we should not be expressive, but instead a question of what our expressions arise from and what they ultimately serve. Self-expression as an end is solipsistic, and finally locked within the sparsely populated universe of the utterly personal." (Pg. 319)

- What do my expressions arise from? This is such a powerful question. And I wish I could just say Jesus, but the first thing that came to my head when I read this quote was pain. My expressions arise from pain and from seeking God in that pain. They arise from a deep desire for community and a longing for oneness. I also have a passion to speak for and of other's pain and heartache. But I want for my expressions to also come out of a place of gratitude and peace. I am still working on it.


Sources;

- Bustard, Ned, and Sandra Bowden. "God Is Good like No Other." It Was Good: Making Art to the Glory of God. Baltimore, MD: Square Halo, 2000.

- Beautiful poem on Art & Identity: http://vimeo.com/23051465

- One of my favorite Lecrae songs about identity:
https://www.youtube.com/watch?v=Y7W4I0tQZps

Reading Four- Searching Beneath the Surface

Some of the pieces that were included in this chapter:


Gaylen Stewart- New Covenant


Gaylen Stewart-Wounds of a perfect life series


Gaylen Stewart, Incarnation


Here are some quotes that stuck with me:

"Sometimes an artist who desires to make a significant statement about concepts that they are impassioned about find that their thoughts have been reduced to heavy-handed, illustrative representation. The visual culmination appears too obvious, overly self-conscious and overworked. In actuality, the artist may be too 'close' to the content and not see this obvious obsessiveness." (Pg. 143)

- I have to admit that this is something I struggle with. Sometimes I get to wrapped up in a concept because it came out of a significant event in my life or the life of a loved one, and I just can't let it go. I obsess over it, and try to make this vision happen, even when circumstances aren't gracious. I have had a concept in my mind for up to a year, and I just couldn't complete it because the models that I had envisioned weren't available or the timing was never right, but I held onto them. My story plays a big part in my art and I am not sure I would know how to "reverse" that.

"The most obvious solution to a problem isn't always the most interesting. In this line of thinking, much is to be said in favor of the struggle to stretch oneself to new dimensions of creativity, rather than doing what comes most easily." (Pg. 143)

- This is one of the reasons I am excited to be out in the "real world", because I will be able to stretch my concepts and ideas and expand upon my vision. Sometimes I feel as though I can't do this at George Fox because of the various policies and codes of ethics present. I want to be able not only to fully express my vision, but also to work with other crazy artists who have big visions and stories to portray.

"The work may still move people even when the viewer doesn't completely understand it. This subliminal connection with the viewer is one of the powerful aspects of the visual dialogue that the artist strives toward." (Pg. 144)

- This is what I seek to do in my work. I don't want people to necessarily see my picture and be like "Oh, yes, this is what it means", but to be able to apply their own story and experience to it. To be okay not understanding it, but to someone connect profoundly with it.

"I begin the process of creating art by searching for meaningful ways of expressing myself through my visual language, my repertoire. During the formation stage of musing, praying and dialoguing, I visualize images that I'm connected to already or have an affinity toward and imagine them in context with the concepts that I'm weighing. I search my mind for the best way to visually represent a particular thought, idea or experience..." (Pg. 146)

- I just thought this was a really cool way to approach brainstorming and the art process. To muse at the stars, to pray to the Creator, and to dialogue with self and/or others. I find that when concepts don't work out, it is because I have neglected one of these steps.

"I want my art to say something about what I'm experiencing in a relevant way to the audience. I continue searching for creative ways to share my experiences. If a symbol or image communicates a concept well it can be repeated --especially in new dynamic juxtapositions. If not, then, it may be discarded or filed for later use." (Pg. 148)

- Gary subbed for Mark in Senior Thesis this morning and we talked about how to say what you are experience whilst still keeping relevant to the audience and it was a long conversation. It is hard knowing what you are passionate about and wanting to express that, but also understanding that you have to make a living, and that people might now buy your work if they can't connect with it. Gary talked about having painted 4 copies of a painting, because that is what the client wanted, but initially he didn't even like how the painting turned out. He also talked about the importance of critique, both by peers, supervisors, and the market. It was an interesting conversation.

"My desire to make art is not so much a feeling as it is a decision. I choose to continue in spite of my ineffectiveness. I try to do something- anything- to force myself to continue. It doesn't have to be successful." (Pg. 148)

- I need to do this more often. Sure I might not win the award, get into the gallery, or sell my piece, but I need to keep making art. When I interviewed Martin French I asked him if there was ever a moment in his career where he thought,"Screw this, I don't want to do art anymore", and without hesitation he said no. He said that he could never see himself doing anything else. That despite having married a biologist and having difficulties expressing this passion to her, despite having dry spells and artists blocks, he could never have said "screw this" and walked away. And no true artists should be able to do that either. I need to constantly make art, despite the circumstance.

"My worldview is inseparable from who I am, and to avoid that would be dishonest in my work. To embrace one's own worldview and give it life in visual terms conveys a level of integrity that is missing in much art." (Pg. 153)

- As an artist I am not called to mimic the work of other artists, and all though history is very important, I shouldn't look there for personal definition either. As Peter London says in No More Second Hand Art, "All creative journeys begin with a challenge to introspection, to fathom not only what's out there, but what's in here".

Sources:
- Bustard, Ned, and Sandra Bowden. "God Is Good like No Other." It Was Good: Making Art to the Glory of God. Baltimore, MD: Square Halo, 2000.

- London, Peter. No More Secondhand Art: Awakening the Artist within. Boston: Shambhala, 1989

- An interesting meditation with Gaylen Stewart:
https://www.youtube.com/watch?v=kt519nK98sw

Reading Three- Why We Need Artists

A piece presented in this chapter:



Altarpiece and Reliquary of St. Clive by Tyrus Clutter 


Here are some quotes that I found interesting, along with thoughts.

"Art is getting across indefinable, but inescapable meaning... Art has to have a place for the observer to explore and wrestle with the message. If the meaning of a work is apparent, allowing the audience with little effort to say 'of course, that is what it means' and if the work can be stated in one sentence, it is not art." ( Pg.118)

- I agree that it is important for a piece of art to be able to speak for itself in a sense, For people to be drawn to it for unique reasons, and for them to conjure up their own stories and meanings for it; however, I wouldn't say that an artwork that has an overt meaning, is not art. The renaissance paintings of the Crucifixion are pretty clearly about the death of Jesus Christ, and I could look at them and conclude this within seconds. How could I say they are not art? Same with my potter friends, they make beautiful ceramic pieces that have no deep meaning, but are beautiful. How could I say they aren't artists? Perhaps I have misunderstood his meaning, but from what I gather, I cannot say that I agree.


"What I have found is that the meaning of life is the glory of God. All meaning is some aspect of the glory of God. If there is no God then nothing can have ultimate significance. The word glory means weight, it means significance- it basically is means 'meaning'". (Pg.119)

- I think human has given into the fallacy that we can find meaning outside of God. And regardless of how many times we fail at finding it, we still try. Yet, we give up on seeking God with such ease. This really frustrates me about the world we live in, it frustrates me about my self. The discovery of meaning is glorious, because God is glorious and the foundation of all meaning.

"It takes imagination to sense something has meaning because we cannot cognitively grasp the glory of God. The glory of God is beyond our ability to understand or describe." (Pg.120)

- I never really thought of imagination as being a way to draw closer to God. For some reason the word "imagine" always makes me think of Disney Land or daydreaming about a boy. I'm not quite sure why. The word imagination feels far away, like thinking on things that you will never be able to grasp. But this is a really interesting perspective, and I think it's time for me to refine my definition of imagination.

"...unless you use imagination, unless you take a truth and you image it- which of course is art- you don't know what it means." (Pg.121)

-The idea of "imaging" truth is fascinating. And the more I think about it, the more it is true. When I am making a decision, so much time goes into imagining different scenarios and how they might affect my decision. When I am talking with a friend about a theological issues, hearing stories where I can apply imagery helps to much. I think we need to revisit the importance of imagination within the Church. Perhaps that us why God commands us to be like children.

"We can't understand truth without art. In fact, a preacher cannot really express the truth he knows without at least couching it in some artistic form. The Church needs artists to assist the body in understanding truth, but just as importantly the Church needs artists to equip the Church to praise God. We cannot praise God without art." (Pg.122)

- My Church community, Imago Dei, is so intentional about making art a part of every service. They have a place for the artists, and an understanding of the need for us in the church. Every Sunday we either have a live painting, a poem read, or a unique music arrangement that feeds our souls in an amazing way. The community understands that we need art to worship and I really love that. So shameless plug: You should visit Imago Dei Community some time :)

"The Church needs artists because without art we cannot reach the world. The simple fact is that the imagination 'get's you', even when your reason is completely against the idea of God. Imagination communicates indefinable but inescapable truth." (Pg.123)

- As an artist passionate about storytelling and reaching the impoverished without a voice, I know the importance of art that communicates what people can't see for themselves. Growing up as a missionary kid, I had to see poverty on a daily basis, but not all people have to deal with that. The church can reach those people through showing this indefinable and inescapable truth, and I hope to be a significant art of this movement some day.

"Your heart knows what your mind is denying. We need Christian artists because we are never going to reach the world without great Christian art to go with great Christian talk." (Pg.123)

- I think the famous saying "Don't talk the talk, walk the walk" should be changed to "Don't talk the talk, take the photograph" (or insert other art medium), haha. It is through creating events, art, music, poetry, and the like that we "walk the walk".

"The Christian artist needs to interact with community because of what he will bring out in others and what they will bring out in him... We all need each other because we cannot  possibly see the whole thing. We need one another because only together do we get some idea of the multifaceted array of God's glory...We get a leaf. But only together as artists are we going to see the whole incredible tree. We all have to 'do our own leaf.' Every one of us has something to contribute." (Pg.124)

- This is a beautiful truth that I constantly have to remind myself of when I become individualistic in my art making. I need to remember that collaboration is not only necessarily, but essential in seeing the face of God more fully.


Thoughts on our visit with  Brother Andre  at Mt. Angel Abbey 






"Make art for yourself and to love others, not because of the money. Making art for the money makes you a prostitute. Trust that God will provide for you. Art is faith based income."

- Ahhh... I think I about fell over when he said this. I had never thought of my desire and anxiousness about making a living as prostitution. And I know earning money is not bad, but idolizing it is and this analogy really caused me to do a lot of self reflecting on our ride home.

"Pray for clients and commissions."

- I never thought to pray for client or commissions... unless I am nervous about performing poorly, then I pray. I need to make it more of a rhythm and custom.

"Try to reflect God in your work, not yourself."

- Once again... convicted, gee thanks Brother Andre, haha.

"The ultimate act of freedom is to submit your will to another. Which is not a popular view today, especially in America." 

- We talked more about this later. The idea that what America sees as "rebellion" today isn't rebellion at all, it is complacency. Real religion is going against what the world is doing, which is loving unconditionally, forgiving, and accepting.

Sources:

- Bustard, Ned, and Sandra Bowden. "God Is Good like No Other." It Was Good: Making Art to the Glory of God. Baltimore, MD: Square Halo, 2000.

- Awesome story on Brother Andre: http://www.statesmanjournal.com/story/life/2014/11/07/mount-angel-abbey-art-museum-brother-andre-love-iconography-icons-benedictine-tattoo/18602733/

-Interesting perspective on the role of Christian Artists: 
https://www.youtube.com/watch?v=WyQDMBF6nw8

Reading Two- Beauty Transfigured

Some of the artwork presented in this chapter on beauty:


Michelangelo Pistoletto, Venus of the rags, 1967


Rembrandt, Return of the Prodigal Son


Paul Cezanne, Mont Sainte Victoire


Tim Lowly, Carry Me                   

Here are some quotes that I found very intriguing, along with brief reflections. 

" Earthly beauty was considered to be both a reminder of and a pointer to spiritual beauty- to heavenly Being... that one should look at the transient beauty of this world with a view to rising above it towards a higher, more perfect and more permanent reality." (Pg. 39)

- We were never meant to adore earth for its beauty, but to adore the Creator who made it. We were to be in awe at His/Her design and glorify Him/Her as a result of our bewilderment. However, for some reason we have confined beauty to earth and limited its definition to the things that we can see, instead of realizing the true root of beauty. This is so unfortunate. 

"We have one Creator and one world created by this one God. Equally important, this world was originally created good. Yet Christians with remarkable persistence speak as if there are two worlds and proceed to describe these in terms of a lower realm of physicality, sensibility, particularity, temporality, imperfection, and so on, and a higher realm of immateriality, invisibility, ideality, eternity, perfection, etc."(Pg. 39)

- I definitely have had this mentality in the past. The idea that earth isn't beautiful, and that I must hope and long for Heaven, which is an entirely different realm. When in reality God plans to restore earth to what it first was when He/She created it. Earth is beautiful, despite its imperfection, and that imperfection is actually a part of what makes it beautiful. It makes us long for a perfect God, who extends mercy and love freely. I feel like sometimes we see Heaven as this paradise free of problems and difficulty, full of abundance and liberty,but forget about the Creator. John Piper, although someone who I do not see eye to eye with on every theological matter, asks an interesting question: "If you could go to Heaven, have spectacular sunsets, no more decease, no more depression, all the friends that have gone before you, all the toys that you have ever wanted, and Jesus not be there, would that be okay?" When I first heard this question, there was so much conviction. I realized that I had been desiring my own personal heaven, but not God and the renewal of earth.

"In Psalm 50:12, God proclaims that, 'the world is mine and all that is in it,' and in John 3:16 God declares his own deep seated love for this world to the point that he is prepared to give his only Son for it." (Pg. 39)

- I guess the idea that Jesus died for earth, just as much as he died for us never crossed my mind. I understand that when John 3:16 says that "God so loved the world..." it applies to us, human beings, his children, but I see now that he also died to restore the earth. Albeit, He/She won't be restoring the earth until his second coming, but he still had the brokenness of earth on His mind when he died. This thought is mind boggling to me. 

"And, so argues von Balthasar, if good has lost its attraction, why would man still want to pursue it?" (Pg. 41)

- When I read this quote I think of how shallow our view of beauty truly is. Because of this when we see tragedy, we automatically forget about the beauty of God and loose interest in Him/Her. We point our fingers towards heaven and tell God that because of the broken world that we have created, He/She is no longer beautiful. Hurricanes are not nice and/or pretty, so therefore neither is God. There is such fault in our logic. 

"...the beauty-glory of the resurrected Christ is not rooted in His physical appearance but in His self-sacrificial love, which passes through the ugliness of the cross." (Pg. 42)

- We are able to see the gore of the cross as beautiful because we realize that the ugliness benefited us. The pain and suffering gave us freedom and eternal life. But for some reason we don't realize that our decisions and poor stewardship of earth have cost God greatly. It saddens Him/Her, but he chose to sacrifice His/Her beautiful creation because he loved us.  

"Beauty, likewise, always appears in particular historical and social contexts. It is not the same for everyone at all times. It is always a complex set of factors and can be considerations which, when seen, evokes from us the exclamation: 'How beautiful'!" (Pg. 42)

- This quote reminded me of the conversation we had with Cory Beals. Everyone views beauty differently, everyone defines it differently, which is even more proof of its existence. In the same way God is so grand, and the fact that we all see Him/Her differently is good, because it speaks to the multifaceted and great God that we serve.

"Art is no longer produced within and for a community but by one isolated individual for an international global art world. As a consequence the general public no longer tends to know how particular art works originate and in what circumstances." (Pg. 45)

-I think it is so important to keep art within a small community. To tell the stories of that community and to truly establish an understanding of what your artwork means within it. One of my favorite artists Shelby Lee Adams spent 40 years of his life photographing the people of the Appalachian Mountains, getting to know them profoundly and becoming a part of their community. Of course, I understand that having your work displayed to bigger audiences is good, especially when managing to so oversees, but I think that there should always be a community from which the artist works. When community is gone, you get isolation and art that lacks profound meaning, as least this is my understanding. 

"True beauty, if you like, is more than skin deep. Taken in its proper context it is a multi-layered affair, which is able to acknowledge and embrace friction, violence, brokenness, pain, suffering and all that a fallen world entails. The best and most enduring works in the of art, music and literature have always been able to visit the darkest places of the human condition and bleakest moments in human history. Indeed, and important aspect of art's calling is precisely to expose the the world's fragmentation and pin as signs of it its broken fallen condition... art thus helps is make sense of our world and, in doing so, can bring shalom to the world, even as it highlights its brokenness." (Pg. 47)

- The idea of bringing shalom while simultaneously highlighting brokenness is such an interesting paradox. But when you think of it, it is exactly what Jesus did. He brought shalom through His suffering. I love this concept of peace weaving its way through war, hurt, brokenness, pain. Kind of like the way flowers grow through concrete. It is truly fascinating. 

" As fallen creatures living in a broken world, we cannot ignore, deny or escape its flawed condition. But as renewed and redeemed creatures, living in the new expectation of a new heaven and a new earth, we are also capable of seeing traces of the world's original goodness and of tasting the Lord's presence in the midst of it all." (Pg. 49)

- "Tasting his presence in the midst of it all", yes, he has blessed those who are in Christ with that ability and gift. I am constantly thankful for the way that God shows up within brokenness. He/She shows up in the darkest of places. Like one of my favorite Switchfoot songs says, "The shadow proves the sunshine!"  

"To seek and pursue redemptive beauty is therefore not merely a luxury pastime but a call to artists to become agents of restoration and reconciliation... and in such creations of redeemed beauty we may be surprised to find that lament and celebration can join hands in unexpected ways." (Pg. 49)

- I went to an art forum this weekend and one of the artists on a panel said the following that really stuck with me, "A significant part of the artist challenge is to go beyond interpreting human experience and to instead interpret human possibility." I believe he was quoting a favorite book, which I didn't get the author or title of, what I was blow away by the simplicity, yet the profoundness of this statement. And I think it speaks to this idea of reconciliation within our art work. If we can find ways to portray the world by pointing out its/our strengths and possibilities, instead of just our experience, or at least meshing experience with possibility I think we can really change mindsets and false perceptions of beauty.

Sources:
- https://www.youtube.com/watch?v=F4-CrGFUAjA

- Bustard, Ned, and Sandra Bowden. "God Is Good like No Other." It Was Good: Making Art to the Glory of God. Baltimore, MD: Square Halo, 2000.

It Was Good: Making Art to the Glory of God- Reading One

Below are some of my favorite quotes from this chapter on goodness, I hope you are able to glean of their wisdom, and understand the main ideas.

" Creation is useful because it is good. It is not good because it is useful. The universe was made by God, it conformed to His nature, reflected His image and therefore was pronounced good." (pg. 18)

- Despite how we abuse it, neglect it and forget to cherish it, the earth is still good, because God created it that way. Regardless of whether or not things are destroyed or no longer functional, there is still beauty in that brokenness, because even the brokenness was originally created beautiful. This concept blows my mind. God is the very definition of beautiful, therefore everything that he has breathed life into represents Him and therefore represents beauty. I love this!

"We also see in God's response that justice is integral to His goodness when God tells of His right to show mercy as He chooses. The act of showing mercy requires the presence of actions that justify punishment." (Pg. 20)

- So often Christians forget that a central part of God's goodness is His justice. We like to think of God as just, but not as a judge. We want for things to be made right, but not to have to endure any pain, and any pain or hardship that occurs we either blame God for or refuse to associate with God, because He is "good". But this quote reminds us that God is just in His goodness, but also able to have mercy on those whom his justice would not favor.

" God's goodness isn't restricted to the lofty and heady realms of glory and justice. His goodness is evident in the many ordinary ways. His common grace extends to every sphere of life and reaches all of our senses- the crunch of leaves during a walk on crisp fall day... the initial peek at waves through dune grasses... the song of a bird on a winter morning. " (Pg. 20)

- He continues with many more examples of how God's grace infiltrates our senses, including starry nights, the smell of fresh chocolate chip cookies, warm mashed potatoes, and a nice glass of Cabernet. I really loved this portrayal of grace. I have always understood mercy to be not giving us what we deserve, and grace as being giving us what we don't deserve, and this makes sense now. We don't deserve all of these beautiful senses, experiences, glimpses of heaven, yet in his perfect grace an goodness he provides them. What a wonderful God we serve!

"We make good the equivalent of 'nice try' when we say a child has done good when they have merely put forth effort. And usually 'nice' or 'sweet' are presented as synonyms of good... a nice or sweet God would not destroy every living creature (except those who could fit on a boat), in a worldwide cataclysmic flood... our comprehension of good is bent." (Pg. 21)

- Wow. Yep, our perception of good is definitely flawed. For some reason we associate goodness with good feeling, which is a bent way of thinking. I was talking to a friend at church the other day, and I asked him how he was doing. He said he was good, and because I don't like one word responses when inquiring about how someone is doing, I asked him why he was good. He said the following which, for whatever reason, blew my mind, "Good does not always mean happy, or without hardship, it means under the perfect grace and protection of God. Even when we struggle in life, we can trust that things are good, because God orchestrates them and because no matter the circumstance we learn and we grow from life experiences. So this is why I am good." Gah. Crazy!

"...creation is groaning under the burden of the Fall, and yet it is not completely perverse because we are still able to find the image of God in the faces of mankind in spite of the thoroughness of our depravity." (Pg. 21)

- Read that again. My oh my, how beautiful is that. What God created was good and he impeded himself into his creation. He is here always, and nothing can change that. No amount of humanity's failures can mask his goodness. He is here to be found by us, and we can indeed find him if we seek him. This reality fills me with joy and hope.

"In other words, when we view and create art we are not able to escape the fallen world we live in. We can neither rise above it, nor go around it. We are bound to it. It pervades everything we think and do. There is a communication problem when trying to portray a proper understanding of good to those whose catalog of images and experiences is thoroughly bent." (Pg. 21)

- We cannot perfectly convey goodness in our art, because despite being created as good and still being seen as good because of Christ, our tendencies are not good. We live in a world that does not comprehend God or his goodness, because they don't know him. So how do you portray a God that you do not fully know? It is like trying to sketch an apple without having ever seen one. Sure, we see glimpses of God, especially through his Son, but we do not know him completely, as he would have it be. Which is why we need to seek to know him as best we can, until he restores us to himself and we can know him more fully.

"If we are to even attempt to communicate good in our art we must push out beyond our bent understanding of it and draw from the depths of God's character...Each of us must wrestle with what scriptural goodness is and expand our knowledge of true goodness when attempting to portray it in art." (Pgs, 23-24)

- Like I said above, in order to communicate good, we must seek God. We must learn his character, to the point where that knowledge can't be shaken by our doubt. We must rid ourselves of the world's definition of goodness, a very hard feat, and adopt God's definition of goodness as we embrace Him.

"Evil is not a real thing at all, like God. It is simply good spoiled. That is why I say there can be good without evil, but not evil without good...Evil is a parasite. It is there only because good is there for it to spoil and confuse." (Pg. 29)

- This quote is really encouraging and I have never thought about it in this way. Good and evil have always been very black and white in my mind. I saw them as opposites, never as counterparts, but as opposites. But to think that everything created was first good, and that evil cannot exist without good is a new idea entirely. It makes sense though, the things that God created for our good such as food, sex, knowledge and the like have been twisted and have been used for evil. The idea that evil is a parasite in the presents of goodness makes me want to jump for joy. What a great analogy.



Source:
Bustard, Ned, and Sandra Bowden. "God Is Good like No Other." It Was Good: Making Art to the Glory of God. Baltimore, MD: Square Halo, 2000.

Grace & Necessity- God and the Artist

Andre Gide

This portion of the book reminded me of Art & the Beauty of God by Richard Harries. I read this book for Philosophy of art with Mark-Harrison McLeod last semester, and it was really eye opening! One of the quotes from the book that intrigued me was the following:

"Human beings, made in the image of God, share in the divine creativity. We also have the capacity for creative, beautiful ordering. In particular, artists of every kind share in the work of the divine artist by giving form to recalcitrant matter. The make music of inchoate sounds and speech of incoherent babble. They give shape to the shapeless and in so doing reflect the work of eternal wisdom." (Harries 102)

The quotes that really stuck out to me from the chapter in G&N:

“You have to find what you must obey, artistically; and finding it is finding that which exists in relation to more than your will and purpose- finding the depth of alternative embodiment in the seen landscape, the depth of gratuitous capacity in the imagined character (when what you want to imagine will not come) and so on.” (Williams 147)

We discussed this quote at length in class. We were asked three questions in relation to the quote:

What must you obey artistically?

- I must obey my desire for storytelling. Although I am capable and qualified to take photographs for purely aesthetic purposes, stories give me life. I want for my soul to be moved and to move the soul of others. I want to speak of brokenness and healing, shame and vulnerability.

What do you find necessary to function as an artist?

- I need for others to support and affirm my vision, or at least understand what I am trying to do, regardless of liking it or not. When I don’t get this affirmation, I get discouraged. No matter how awesome I think an idea is, if there is no affirmation, I struggle. I don’t want for people to just think that my work is “pretty”, I want for it to move them somehow.

What are things that are fuel for your work (spark your imagination)?

- One of the things that fuel my work are the stories of struggle that I encounter, whether it be my own or that of loved ones. I often tend to work from a place of lacking. We lack vulnerability, so I make art showing that lack. We have fears, which I showcase by conceptualizing my biggest fears. Most of my concepts showcase the lacking/broken which will hopefully inspire change.

“But truthfulness unfolds- it doesn't happen all at once- and makes possible different levels of appropriating or sharing in the activity that is the world.” (Williams 137)

- I think this quote is so profound. Truth unfolds- experiences unfold, stories unfold, life unfolds. And because it unfolds, we can truly experience life at its fullest. We are able to walk through it gently and dance through it softly. We have the time to get to know ourselves and those around us. But most importantly, we get to commune beautifully with the Creator. Thank God that life unfolds!

Sources: 

- Williams, Rowan. Grace and Necessity: Reflections on Art and Love. Bloomsbury Academic (June 7, 2006)

- Harries, Richard. Art and the Beauty of God: A Christian Understanding. London: Mowbray, 2000.

- http://recitethis.com/#/quotes/picker

Martin French

Martin French is an illustrator, designer & educator who lives and works in Portland, Oregon. The grandson of an Italian Cowboy, he grew up in the suburbs of the San Francisco Bay Area soaking up the graphic language of DC and Marvel comic books, dreaming that one day he would grow up to be either a super hero or an artist, preferably the former. He chairs the illustration department at the Pacific Northwest College of Art, directs the Exile Poster Project, and seeks to make art that explores the wild story that for short we call life & culture.

One of the things that he said that really stood out to me, was "I made a decision to be true to my artistic voice, whether or not it made a lot of money". This is such a hard thing: to develop the willingness to be faithful to your artistic language and follow your passion; especially when you aren't seeing tangible benefits. But he really encouraged me to continue doing what I am passionate about.

Today we went on a little field trip to Chehalem Cultural Center with our Senior Thesis class, and we kind of talked about the same thing. We talked about the need to be humble after graduation, willing to take on jobs outside of our immediate mediums and that maybe wouldn't make a whole lot of money (perhaps even lots of volunteer work). In doing this we are being faithful to our artistic vision, because we are gaining experience that will one day help us do what we are truly passionate about!

I am such a fan of Martin French. Not necessarily because I want to be an illustrator, but because I want to take the truths of scripture and the darkness of life and mesh the two together, creating conceptual pieces that reflect the idea that God's presence is with us in all circumstances. He said the following about his art and faith journey, which I thought was amazing!

"...the earth was formless and empty, and darkness was over the surface of the deep and the Spirit of God was hovering over the waters and over the chaos. I love the imagery, the sense of His presence. His constant presence in our lives, in our daily stories, in the chaos, in the storm, in the darkness. The sense of energy, motion, and movement that is generally noticed in my work is centered around this idea. Illustrating life in the midst of the holy wild."

Wow! "Illustrating life in the midst of the holy wild." Love it!

Below is the rest of the interview, as well as some of my favorite Martin French illustrations.


Inscape


Prophet


Wrestling With God

How did you become an Illustrator?

I studied illustration and graphic design at ArtCenter. After graduation I took two consecutive full

time jobs, one with Atari and then with Microsoft. Both positions were in digital media – animation, character development, interface design, game concept development, etc. Ultimately, I became a director. I used my evenings and weekends to create experimental new work, continue investigation of new medias and techniques, and free-lance illustration projects – all the while knowing I would open my own studio at some point. During this period of my life I learned a great deal about experimental digital media, and ultimately formed my artistic vision. 10+ years after graduation, I did. I had a good financial foundation so I was not desperate for any job that came in. I was selective, and made a decision to be true to my artistic voice, whether or not it made a lot of money. I began by entering many of the juried shows, was fortunate enough to gain some attention and things grew from there.

Who/What are your influences and inspirations?

-My kids.

One is from a Gypsy village in Eastern Europe, the other from a Mayan village in Guatemala. Their cultures and creative spirits have influenced my art deeply. Combined, they are my artistic "muse".

-Poster art. The underlying idea of art in the streets, communicating messages relevant to our day-to-day lives. The motive of the poster is not to escape the everyday, but to help us take a plunge into its complexities. Specific artists and movements - Revolutionary Posters from Latin America / WPA / Tom Purvis (British poster artists from the 20's-30's).

-Jazz in general, but specifically John Coltrane. Extreme connection to the fundamentals of

music form and theory, allowing for extreme exploration and improvisation.

-The Blues in general, but specifically Blind Willie Johnson, a Blues artist from the 1920's. His

work was a convergence of his personal beliefs with the Blues idiom, and spoke with a very

distinct and powerful voice.

-The writings of the Prophets found in the Old Testament. A mind-blowing collision of

imagination, creativity, passion, faith, and real life issues.

-Poetry of Gerard Manley Hopkins

-The Swedish Graphic Designer Dan Jonsson

-Batman

-Jazz by Henri Matisse.

-Chapelle du Rossaire de Vence (Murals + Décor + Vestments by Matisse)

-Aaron Douglas. One of the leading visual artists from the Harlem Renaissance. A commercial artist working with a very personal voice and a deep connection to his own culture.

-And old Daredevil comics drawn by Gene Colon.

Do you consider yourself a commercial artist?

I've been accused of being too commercial by some people, and too much of an artist by others. I suppose I’m an artist who isn't afraid of having commercially viable work. I feel the distinction between fine and commercial art is a false premise ultimately. Making art in a commercial context where the needs of the client and an awareness of your audience are of equal importance with personal expression is a challenge. But, I’ve always been energized by the demands of commercial work, “working against a hard edge” as illustrator Philip Hays put it. With that in mind however, the need to have a clear artistic vision, beyond a visual style, is essential for sustaining a professional illustration practice. There should always be a sense of the artist’s agenda apparent in the work. Any commercial assignment in one sense builds a cage around us. Our job is to plant ideas within the cage that extend past it’s bars, and in some cases, causing the cage to explode. The constraints often times lead to the most profound ideas and vibrant personal statements.

What is your process for creating work?

I create quite a few thumbnail sketches – more for myself than the client, just to make sure I've explored all of my options. After exploring multiple ways of presenting the idea or subject, I’ll send the client my rough sketches. Once a visual direction has been agreed on, I’ll then shoot reference images, collect whatever visual research necessary and create the final drawings. I do color and composition studies before going to final usually in traditional media. I can work fairly quickly if necessary, but I like having time to workout the nuances of an image (don’t we all!). From there, I move to the computer, working with all of the scanned drawings to create the final image in Photoshop.

What is your technique and what medium do you work in?

Everything I create is done traditionally with ink, acrylic, graphite, and charcoal. Much of the

imagery you see – brush strokes, textures, figurative drawings, splatters are all done separately.

I’m keeping in mind the final composition as I create each separate element, but they all take on

an identity of their own. Imagery is then scanned into Photoshop and I use the digital media as a

place to compose and design. I’m not really painting with the digital tools. Photoshop just allows

me the ability to explore visual relationships. Often times, I print the piece out on different types

of paper and draw and paint back into it. The mixed media approach allows me to explore fluidly

throughout the creative process.

Explain your style of art.

Well, one book critic described it as a neo Jazz-Age comic book pastiche, which I kind of like. I’d

call it graphic expressionism – an interplay of chaos and order. Visually, I’m looking to push a series of diverse contrasts: Flat graphic areas to textural, organic rhythms; distinct light and dark patterns; elegant curved lines against straight hard strokes; the simplification of form vs. fine detail. A graphic sensibility with a love for aggressive, primal mark making.

Here is a video that will give you more insight into Martin French, especially in regards to his faith walk:

http://vimeo.com/83885132

Grace & Necessity- Flannery O'Connor

***

 

This portion of the book focuses on Flannery O'Connor, an important voice in American literature; a successful writer and essayist. 

A little bit about Flannery O'Connor:

- Lived from March 1925- August 1964

- Wrote two novels and 32 short stories, as well as several reviews/commentaries

- Southern Gothic writing style dependent upon regional settings and grotesque characters

- Roman Catholic faith tradition

- Frequently raised questions of ethics and morality

- Won U.S. National Book Award for Fiction in 1972

- Won Best of the National Book Awards in 2009

Here are a couple quotes of O'Connor's that I found interesting, and that are truly representative of her work and style:

"The truth does not change according to our ability to stomach it." 

"To expect too much is to have a sentimental view of life and this is a softness that ends in bitterness."

"All my stories are about the action of grace on a character who is not very willing to support it, but most people think of these stories as hard, hopeless, and brutal." 

Here is a link to one of her most well known short stories- A Good Man is Hard to Find

http://xroads.virginia.edu/~drbr/goodman.html

 

Finally, here are some thoughts and excerpts from Grace and Necessity that I found interesting, along with explanations: 

"Strangle that word 'dreams'...You don't dream up a form and put the truth in it. The truth creates its own form." (Rowan 98)

- I think this quote is interesting because, the way I see it, God is truth and he reveals his truth in many ways. But no matter what, his truth is always told and revealed. So instead of coming up with a concept that has a specific message, true or false, I should just create work and know that the work will, in a sense, speak for itself. But also the idea that as you create work with "the truth" in mind, it will naturally flow into each piece. This way we don't have to try to "put the truth" in our work.   

"To believe nothing is to see nothing, and every artist, like it or not, works with a framework of assumptions about humanity and its world." (Rowan 99)

-  This quote is very profound to me, and so true. We all have our views of the world and reasons for living the way that we do. Each of us has thoughts, doubts, and/or spiritual encounters which can reflect themselves on our work. It all comes down to being able to identify what those experiences and assumptions are and how the affect our work. But the idea that to believe nothing is to see nothing is so profound to me because my values, life experiences, and faith have such a huge role in my art making. So to say that you don't have that belief system in place and that you just "make art for the sake of making art" I believe is fallacy.

"...the usually hidden otherness of God is not limited by the visible, though they are in conceivable without the visible." (Rowan 103)

- I think this quote is well phrased. God is so much bigger than what we see, yet what we see is such a great part of God. Understanding that He is here, visibly through nature and whatever beauty is left of humanity, but also elsewhere, in a mysterious realm unbeknownst to us.  

"Freedom is at work both in art and prudence... but there is a difference between the choices that a person makes for the good of their soul and the choices made for the good of the work." (Rowan 124)

- I've never really given this idea a whole lot of thought. Whether I am making my art for the betterment of my soul, or for the benefit of the art. I guess doing something for the good of the work would look like creating a piece that supported and encouraged the work back towards it's original creator. The idea that is talked about earlier in the book, of changing the world back to its original self. Or perhaps creating work that supports the truth told my other creations and pieces. I'm not quite sure I know what the means, but I am very attracted to the idea of creating art for the soul!  

"The ethic of the artist, if we can speak in such terms, is detachment, dispossession of the desire to hold everything inside your own head." (Rowan 126)

-  The first thing that come to mind when I read this quote, if an artists temptation to hide the concepts that they come up with out of fear that they will get stolen, or criticized. However, I think what he is trying to get at is the idea of surrendering not only concepts and ideas, but also values and strengths to the discernment of a greater community than self.

"The irony is that the gift of life is the gift of daily 'terror', the terror of being aware of reality in the light of God." (Rowan 121)

- The idea of living in God's presence and living for God are intimidating to say the least. To live knowing that he is watching and holding us accountable for our actions. That the things we say and the things we create have real weight in the Kingdom. This is bizarre to think about, but it really is a big deal.

"I think [O'Connor] would respond by saying that the artist has an obligation to find the tone or register in which she can actually be heard, and an artist presenting a Christian universe cannot be shock. This must be defensible so long as it is actually a strategy for truth, not a flexing of the artistic muscles for its own sake." (Rowan 128)

- This quote was extremely convicting for me personally, because while I do often create work with the goal and hope of presenting truth, more often than not I create work to get reactions out of others. I want to come up with interesting stories and concepts that will shock others into understanding where I am coming from. But maybe shock isn't always the best tactic.

 Sources: 

- http://www.georgiaencyclopedia.org/articles/arts-culture/flannery-oconnor-1925-1964

- http://www.biography.com/people/flannery-oconnor-9426760

- http://www.brainyquote.com/quotes/authors/f/flannery_oconnor.html

- http://en.wikipedia.org/wiki/Flannery_O%27Connor

Williams, Rowan. Grace and Necessity: Reflections on Art and Love. London: Continuum, 2005

Grace & Necessity- Material Words

***

 

This portion of Grace & Necessity focuses on the work and thoughts of Eric Gill, a multifaceted artist from the 20th century who was a huge influence in the Arts and Crafts Movement.

A little bit about Eric Gill:
- Lived Feburary 1882-November 1940
- Studied at Chichester Technical and Art School, Westminster Technical Institute, and
- Fluent in many art forms, including but not limited to, sculpture, typeface design, stone-cutting, and printmaking.
- Catholic and Pacifist with a controversial personal life
- Known for his very erotic artwork
- Named Royal Designer for Industry, an award of high acclaim given to designers by the Royal Society of Arts

Some of his best known artwork: 

Mother & Child- His first publicly acclaimed print

 Eve 

Divine Lovers 


Now for Eric Gill's thoughts on art: 

There were many interesting quotes, new terms, and ideas that I took away from this portion of the book, a lot of which I will share with you below. However, my biggest takeaway was the conversation about art and prudence. The that God will make beautiful whatever it is that we do, if we do what comes natural to us and do it with passion. When the leaves turn colors in the fall and when the spider weaves his web, they don't think,"This is going to be awesome"  or "People are going to stop and stare for day", they just do what comes natural to them, and we should follow in their example.

New Words/Ideas:

Prudence: Good judgement and wisdom

Utilitarianism: the doctrine that an action is right insofar as it promotes happiness, and that the greatest happiness of the greatest number should be the guiding principle of conduct.

Transubstantiation: the change whereby, according to the teaching of the Catholic Church, the bread and the wine used in the sacrament of the Eucharist become, not merely as by a sign or a figure, but also in actual reality the body and blood of Christ.

*As it relates to art: The idea that "the whole active presence of the object is being re-presented by the artist- not simply the reproduction of aspects of its appearance." (Williams 62)

Other interesting quotes: 

"Art is skill... a habit nurtured by practical apprenticeship which develops a natural capacity; we do not need any doctrine of mysterious giftings, spiritual genius, in an artists. The truest art is anonymous; emotions are never the ground of artistic work, only some of the consequences..." (Williams 47)

- This quote I was rather bothered by. Although I understand that art is a developed skill, a learned expertise, I also believe that there is a great sense of spirituality involved. I think that Matthew, Mark, Luke, and John were very much artists inspired by God. I also believe that many of the Madonna and Child and Crucifixion paintings of the last couple centuries, mainly the Renaissance Era, were inspired by God. I could probably find a billion examples, but my point is that art is more than just skill, especially for the Christian artist, so to disclaim this aspect of artistry is something I can't come to terms with.

"True art is in some sense a part of nature, nature in its human embodiment pursuing its natural intellectual and formative character." (Williams 48)

- The idea that nature embodies itself through art forms is quite poetic to me. I am not sure I fully understand the idea he is trying to get across, but I just have the image in my mind of a root emerging from the earth and forming into the cage that houses a bird, the shelter that keeps the ladybug safe from turbulent winds, the structure that holds the ants nest together. And that through our hands, nature communicates and the earth is spoken for. So cool!

"Art is metaphysically superior to prudence in its aspiration to collaboration with God. But prudence is more important for the human being as such, more in tune with what human beings concretely are and need." (Williams 48)

- This quote I found interesting because it almost seems as though prudence plays the role of intermediary in a sense. "She" goes back and forth between art's need to collaborate with God and nature, and art's need to please humanity and connect with humanity, which is a strange concept, but one that is intriguing. Prudence in all her good judgement and wisdom, allows for art to live in both spiritual and earthly realms.

"Art is good when it relates to the sort of creatures we know ourselves to be." (Williams 49)

- I agree with this statement. I think that art needs to somehow speak into our existence, into the deepest recesses of our mind. It should reminds us of who we are and where we came from. At least that is what I want for my artwork to do, as well as what I would hope others' work did for me.

"Art which is not propaganda is simply aesthetics." (Williams 49)

- Hmm... this quote jumped out for me, because typically I see propaganda as being a negative thing, but in this case I see it as a positive. Yes, art must serve the community at large and be about more than self. Although I fully believe we need to have a certain freedom of expression, I also deeply believe that art must have some sort of message, point to get across, enlightening fact, or the like for the community to grasp.

Sources: 
- https://www.youtube.com/watch?v=R63jce-LiKc
- http://www.goldmarkart.com/all-art/all-artists/eric-gill.html
- http://en.wikipedia.org/wiki/Eric_Gill

Grace & Necessity- Exploration of Aesthetics

***

Rowan Williams 

A little bit about the author: 
- Born June 14, 1950
- Theologian and poet
- Archbishop of Canterbury from 2002-2012
- Studied at Universities of Cambridge and Oxford
- Speaks three languages and reads nine
- Fought, although unsuccessful, for the appointment of women as bishops in the Church of England
- Stepped down as Archbishop to become Master of the Magdalene College at Cambridge University
- Later was appointed to Chancellor of the University of South Wales.
- Written over 40 books

Unpacking Grace & Necessity

With this book, written by a highly educated Reverend and Doctor to highly educated counterparts, I first felt truly intimidated... as I do with most of the books I read for Tim Timmerman's classes. However, after having a discussion with classmates and having my professor unpack things a little, I began to understand Williams' hermeneutics and intelligent jargon. 

So here is what he is hoping to accomplish with the book: 

He explains in his intro that there are plenty of discussions about text, but very few about the visual arts. His goal is to begin discussions about the visual arts in a way that is provoking and interesting. 

Below are several quotes that stuck out to me in the reading. I will try my best to unpack them a little, or at least share why I found them interesting and worthy of quoting. 

Grace & Necessity Quotes

"God makes a world in which created processes have their own integrity, so that they do not need God's constant direct intervention to be themselves. At a deeper level, it assumes a unity between grace and nature: the integrity of a created process will, if pursued honestly and systematically, be open to God's purposes" (Williams, 9).

- This quote was interesting to read because it made me think of my intentions when it comes to creating artwork. Is there integrity in my work, am I allowing room for God's purposes to come to fruition with my artwork? I think this is a question all artists should ask of their work. And although I don't really have an answer in regards to my work yet, I am certainly working on figuring it out. 

"Art is not of itself either grounded in or aimed at moral probity. It is a virtue of the practical intellect- that is, of the mind focused not on knowledge as such but on action" (Williams, 10).

- This is a good reminder to me personally that no matter how many good concepts I have, or how many sketches I have drawn, if I don't move to action it won't ever become art. Like he says, we need 'practical intellect', to transfer our thoughts to our hands. At least this is my interpretation of the quote. 

"The production of beauty cannot be a goal for the artist. If the artist sets out to please, he or she will compromise the good of the thing made..." (Williams, 14).

- This was by far the most convicting quote for me. I must have read it several times through. The idea that I need to create for myself and perhaps even for God, but not for the approval of others. And sure, it is fine to want to others to like our work, but when it takes a toll on our artistic identities, and we are creating in order to see how many Facebook likes we can get, or how many people will comment on our work, we are compromising the good and beauty of our work. This is something that I personally need to work on. 

"The artist as artist is not called on to love God or the world or humanity, but to love what he or she is doing..." (Williams, 14).

- The idea behind this quote is that God gives us freedom of choice but he is intrinsically involved in our process and we are equally working towards the purpose of God. Our artwork may not be like that of Thomas Kinkade or even have an underlying Christian message. We can be faithful to God by being passionate about our art. I had a hard time with this quote at first, not understanding that Williams meant, and I am still trying to work through it, but it is certainly making a lot more sense now. 

"Art seeks to reshape the data of the world so as to make their fundamental structure and relation visible. This the artist does set out to change the world... but to change it into itself" (Williams, 18).

- I love this quote so much! The idea that we are to point our audience back to creation and to its Creator. That we are not called to change the world, but to help it return to its truest essence. I love this idea... I might need to think up a photo concept for this. 

Sources: 

 Williams, Rowan. Grace and Necessity: Reflections on Art and Love. Harrisburg, PA: Morehouse,       2005.

"Roles and Priorities." Roles and Priorities. N.p., n.d. Web. 02 Oct. 2014. <http://rowanwilliams.archbishopofcanterbury.org/pages/roles-and-priorities.html>.

"Rowan Williams." Wikipedia. Wikimedia Foundation, 10 Jan. 2014. Web. 02 Oct. 2014. <http://en.wikipedia.org/wiki/Rowan_Williams>.