Risen: musing on resurrection

14 thoughts on “Risen: musing on resurrection”

    1. Thanks! I’ve had a quick look at Mean – I really like his stuff! And thanks for the ACT link too.

    1. Thanks for the encouragement! It was really about the process, so I thought it was important to share it.

  1. wow, intimate and public and jubilant and hinted and shocking and appropriate all at the same time. In a word, Jovial – reminded me of this passage from Lewis when jupiter comes in that hideous strength

    In the kitchen his coming was felt. No one afterwards knew how it happened, but somehow the kettle was put on, the hot toddy was brewed. Arthur-the only musician among them-was bidden to get out his fiddle. The chairs were pushed back, the floor cleared. They danced. What they danced no one could remember. It was some round dance, no modern shuffling: it involved beating the floor, clapping of hands, leaping high. And no one, while it lasted, thought himself or his fellows ridiculous. It may, in fact, have been some village measure, not ill-suited to the tiled kitchen: the spirit in which they danced it was not so. It seemed to each that the room was filled with kings and queens, that the wildness of their dance expressed heroic energy, and its quieter movements had seized the very spirit behind all noble ceremonies.

      1. Oh boy, you want to read the whole Cosmic Trilogy – That Hideous Strength is the third, and really you must enjoy the first two first (Out of the Silent Planet; Perelandra). And then when you’ve done those, ‘Till we have faces’, is Lewis’ absolute best fiction. The idea that if we are introduced to ideas in another world, we may better recognise them in our own. A meaning-drenched universe. He has some artists in there, too, in Out of the Silent Planet.

  2. Top stuff G. What is so valuable is the insight into your process, often with a piece of art we are left to guess at the process the artist went through and how they thought through the creation of the work. Perhaps it’s just me but I prefer to search an artwork for a specific message rather than try and bring my own meaning to it, and although the process of thinking through what the artist might have meant is valuable, I enjoy much more the window into your process that you give us here. Certainly a significant contribution to the discussion over how art = worship.

    1. Thanks mate. At the time I thought it was the process that was the important part. But if I think art is about relationship and communication, then that’s probably a bit too selfish. So I thought I’d share it – the piece and the process. If that makes sense…

  3. Gareth, this is really good. I looked at the painting and title before I read the process of how you painted it. I felt I was on a dark sea and had to get past a horrible shore before I got to a place of rest and light.
    I like the way you read through Ephesians 2 as you painted.

    1. Thanks Jamie. It sounds like the way you looked at it was pretty close to what I was feeling as I painted it (although I didn’t think of it as a landscape until afterwards)… The dark bit is sort of chaotic and thick, like it ought to be impossible to escape. And it’s interesting what you say about the shore being horrible; I guess the cross is horrible and brilliant at the same time – the tension at the heart of Good Friday.

  4. Michael Jensen helpful as always.

    As art eloquently explains, human society is troubled by death. Christ’s resurrection from the dead points to the end of death’s rule and to the future transformation of the present order. The testimony of the Apostles is to the resurrected Christ’s Lordship over the world. What occurs in Christ is a re-creation – a new humanity is formed, by the Holy Spirit, in the present age. This is a people with imaginations re-formed as hope in Christ. They experience a present resurrected reality (John 10:10, Col 3:1-5); and they anticipate the perfecting of their bodies by godly obedience expressed in service. Here is the beauty of holiness, rather than the holiness of beauty.

  5. I think your description of how it was made is the most interesting part. Particularly the way you link theology to the actual application of paint to the canvas. I am still in the process of developing an art practice, some of which involves me explaining the work (see link). And like you say – the actual image is incidental. Also the ‘that hideous strength’ quote seems very relevant, I might have to try reading it.


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