All You Need is Love

The Creation of Adam
Michelangelo
Source: http://allart.biz/up/photos/album/M_N/Michelangelo/michelangelo_1_creation_of_adam.jpg

"In this bestowing of life on self and world, the artist uncovers the generative love that is at the centre of holiness. There is no 'godlikeness' without such bestowal, such 'imagining' into life." -Rowan Williams, 167

One of my favorite images in the Bible is the description of how the first human was created, with God forming man from dust and breathing life into him (Genesis 2:7). Certainly, it's a powerful image, and one that artists have explored for centuries, a well-known example being Michelangelo's painting of it on the Sistine Chapel (shown above). The idea of God's relationship to us as his creation and the way artists explore this type of relationship is discussed in the last section of Rowan Williams' Grace and Necessity. In particular, Williams examines the multiple levels of love that are inherent in creation, from God's love for the world and its inhabitants to an artist's love for the work she constructs. Though the love an artist has for her work doesn't fully encompass the idea of God's love, the act of bringing something valuable into existence sheds light on the sacredness and love held in this process. In making something, we are connected to our maker.

A sketch of God holding Adam and Eve. I like to imagine God was excited about what he had made.

The relationship an artist has with what she creates is certainly an interesting one. To begin with, though the artist typically has some idea of how she wants the piece to go, part of the process involves letting the piece develop its own life. Williams mentions on page 161 that "... it is possible to trivialize or corrupt the labour of making by trying to force what is made into conformity with some supposed inner concept of the work..." In other words, if an artist tries to force a concept onto a work, it will not result in good quality art. Some parallels could be drawn between the idea of art being able to take its own shape and the concept of free-will in humans. The basic idea of this concept is that God gave the humans he made the choice to either choose him or not choose him. We have a measure of control in our fate. Something that is essential to any form of love is choice. As author Richard Bach said, "If you love someone, set them free; if they come back, they're yours; if they don't, they never were." If one thinks about this quote as applied to a created work, it could be said that, in order to love something one has made, one has to allow it to choose it's own path. The connection between choice and love is something that unites generative acts, whether it be on a large or small scale.

One's actions are more significant if one is allowed to choose his own path...
Source: http://academic.depauw.edu/aevans_web/HONR101-02/WebPages/Spring2005/Alex/homepage
/graphics/shades.jpg

On the other hand, there are certainly differences between the love an artist has for her work and the love God has for humanity. One difference that Williams discusses is how making a work of art can be a form of self-love for the artist. On page 162, he states, "...this love [of an artist for her work] is always inextricably connected with self-love, since it is a form of self discovery." The work that one creates and the motivations one has for embarking on a particular project reveal one's values and perceptions on life, be it the struggles one encounters, what she finds important, or simply one's aesthetic preference. In contrast, God knows all, and thus has no need for self-discovery. This enhances the mystery of why God chose to create, as the universe is not necessary for his fulfillment. And yet, regardless of this, he believed that it was worthwhile to bring things into being. Though it is not completely understandable, God's decision to create and his willingness to let his creation choose shows the depth of his love. Such a love is likewise illustrated in the creative act of the artist. It may not be a perfect analogy, but the process allows one to explore the sacredness of creation nonetheless. 

Sources:

Bible verse (Genesis 2:7): http://biblehub.com/genesis/2-7.htm

Williams, Rowan. Grace and Necessity: Reflections on Art and Love. London: Continuum International Publishing Group, 2005. Print.

Richard Bach quote: http://www.brainyquote.com/quotes/quotes/r/richardbac136009.html

Mercy, Murder, and Grace

A bit of humor to start a difficult post
Source: https://farm3.static.flickr.com/2742/4372151970_363083919c.jpg

My sister and I attended a class at our church once that centered around the idea of becoming members of the church. During one session, the topic of salvation versus damnation came up, and one man mentioned that he did not believe in Hell. This surprised a few people, but the man described how he believed in God's enduring love, and that he could not believe that a God of greatest love and mercy would condemn a child of his to eternal torment. The man asked, "Why would a master allow a dog he loved to have its toes cut off?" I've thought a lot about what the man said over the years, and I still do not have a clear answer. However, I still think it is a worthwhile question to think about, even if it can be unsettling to approach. Flannery O'Connor, the author that Rowan Williams discusses in chapter three of Grace and Necessity, explores dark and disturbing subjects in her stories in order to ask important questions about what it means to have grace from God.

There is a lighter side to love and mercy, and a darker side
Source: http://i.huffpost.com/gen/721062/original.jpg

One story of O'Connor's that Williams discusses is titled "A Good Man is Hard to Find." In it, a grandmother unintentionally instigates a chain of events that culminates with her talking to a serial killer, the Misfit, while she hears the gunshots signifying her son, Bailey, and his family being killed by the Misfit's partners in a nearby forest. While talking to the Misfit, the grandmother feels a moment of kinship with the murderer, and touches him, but he flinches back and shoots her (O'Connor, 1-23).  Most people are not inclined to feel any sort of connection with a serial killer, yet, in this short story, O'Connor manages to make the Misfit sympathetic. If he had not ordered the execution of this family, he would probably be the most likable character in the story. For example, when the grandmother reveals that she recognizes the Misfit and it becomes apparent that the family will be killed, Bailey curses at his mother, and she begins to cry. The Misfit shows distress at this, and tries to comfort the grandmother, saying, "'Lady... don't you get upset. Sometimes a man says things he don't mean. I don't reckon he meant to talk to you thataway (15).'" This unexpected display of compassion from the man about to murder the grandmother creates a dramatic situation of light and dark mixing in one person. Through this, O'Connor is able to ask questions about grace and what it means to be evil, such as:

• Is there a point we reach where we are irredeemable in the eyes of God? 
• If so, where does that boundary lie? 
• What about cases that are not so clear-cut, as in that of the Misfit? If the Misfit has some inclination towards good, does he still deserve God's grace despite being a murderer? 
• What about people who feel they are good, like the grandmother, but whose words of faith are more empty than poignant? What about those of us whose lives have been easy when compared to others? Is the measurement for grace still the same? 
• Is it easier for some people to be "good" than others? Does this affect our idea of salvation?

These questions can be really disturbing, but if one is willing to look at them, it can give one a more understanding and merciful outlook on those whose lives are surrounded by darkness. Williams mentions when discussing the story that the moment where the Misfit kills the grandmother is the moment of grace, and, despite its gruesome nature, one can see the deep bonds being made in that moment (107). On page 117, Williams summarizes O'Connor's approach to grace by saying, "O'Connor is insisting on a perception of grace that is not necessarily the introduction of a meaning or even an absolution... grace is an excess that may make for significance or forgiveness, but needn't." The story doesn't specify if the interaction with the grandmother made any effect on the Misfit, and it seems unlikely that he would change his ways. Yet, in her final moments, the grandmother was most certainly changed, and she found a greater understanding of humankind than many achieve in their lifetime. Whether or not this redeemed her or the Misfit is difficult to say, but the potential was there, and sometimes, at the very worst moments of life, the potential for change is reason enough for hope.

Illustration of Scene from "A Good Man is Hard to Find"
Source: http://vwordpress.stmarys-ca.edu/commonplacebook/files/2012/12/a_good_man_is_hard_to_find_by_howi3-d31nrko-1kjw325.jpg

Sources:

Williams, Rowan. Grace and Necessity: Reflections on Art and Love. London: Continuum International Publishing Group, 2005. Print.

O'Connor, Flannery. "A Good Man is Hard to Find." A Good Man is Hard to Find and Other Stories. Orlando: Harcourt, Inc., 1955. 1-23. Print. 

The Soul of the Art

Communion: What exactly does it mean when we say Christ's body is the bread and his blood is the wine?
Source: http://wp.production.patheos.com/blogs/teachingnonviolentatonement/files/2015/04/eucharist.jpg

*Note: Please forgive me if this post is a bit disjointed, I haven't been feeling very well recently, and my head is still a bit muddled.

Transubstantiation is a big topic, and its meaning has been argued about for centuries in the church. Traditionally, transubstantiation refers to the way in which Christ's body and blood become, in a literal sense, the bread and wine of the eucharist. For many years, Christians fought over whether Christ made a real change to the bread and wine, or whether the act was symbolic in nature. The Catholic church sought to solidify these ideas through the Council of Trent, but different denominations of Christianity still hold varying opinions on how to define the Eucharist (McGrath, 194-195).

The Council of Trent Meeting
Artist Unknown
Source: https://upload.wikimedia.org/wikipedia/commons/c/ca/Council_of_Trent.JPG

This definition can become even more tricky if one wishes to apply it to art, as David Jones does when he is discussed in the book Grace and Necessity: Reflections on Art and Love. Essentially, Jones argues that, just as the spirit of Christ enters into the Eucharist, the spirit of whatever a work of art seeks to capture moves into the work and becomes a part of the piece. Rowan Williams, the author of Grace and Necessity, describes Jones' philosophy, saying, "Something like the whole active presence of the object is being re-presented by the artist... Jones would have taken perfectly seriously the philosophical and theological sense of participation between reality and representation that we have seen at work in Maritain... (Williams, 62)" There is something greater in the piece than just its physical form.

While I don't think transubstantiation in the traditional sense is what happens when one creates art, I do agree that works of art obtain a certain spiritual nature. Not necessarily from the object one depicts, as there are many times in abstract art where there is no object depicted at all, but from the artist's creative act, as well as the connections made by the viewer and the physical presence of the work itself.

A good example can be found in the work of Portland artist Alison O'Donoghue.

Why Me Why You
Alison O'Donoghue
Source: http://www.aliorange.com/largeandlarger.html

The way that O'Donoghue weaves multiple characters and stories into her paintings gives them a sense of activity reaching beyond what the observer is able to see, and even describes the characters as "glowing with life" on her website (O'Donoghue). The vine-like shapes and the way that the creatures weave together like a loose fabric makes the work seem to dance and squirm under one's gaze. When looking closer, one can find the individual lives and stories of each character, an activity the being engages in regardless of whether anyone pays attention. There is a sense of spirit in each character, and in the painting as a whole. Even if the painting were never to be viewed, there is still the feeling that the painting would live on, the characters would keep going about their lives without the validation given by someone viewing a work. Each work by O'Donoghue has its own resonance, an intrinsic value that is strengthened by her creativity and the observer's interaction, but also exists outside of the human element. Simply by being an object brought into existence by a creative force, art has a sense of presence. It might not be a literal spirit or being, as in the case of transubstantiation, but it is a sacred and real energy. 

Sources:

O'Donoghue, Alison. Alison. http://www.aliorange.com/alison.html. 2011. Web.

Williams, Rowan. Grace and Necessity: Reflections on Art and Love. London: Continuum International Publishing Group, 2005. Print.
McGrath, Alister E. Christian History: An Introduction. West Sussex: John Wiley & Sons, 2013. Print.

Beyond the First Glance

What do you see? An old woman, or a young woman? Sometimes it is necessary to look a bit harder and longer to find what makes an image significant (or in this case, entertaining)
Source: https://ermiliablog.files.wordpress.com/2013/06/old-woman-yong-woman-optical-illusion.jpg

The first chapter of Grace and Necessity, by Rowan Williams, was a bit difficult to break down, and one must spend a long time rereading and teasing it out before being able to decipher the points the author was trying to make. After working with the text a bit, it becomes clear that one of the main concepts that Williams and Jaques Maritain, the writer whose work Williams is analyzing, are trying to convey is that good art makes one see beyond the face value of things, particularly in regards to spiritual significance.

The greatest philosopher of our childhood, Rafiki, concurs that one must "look beyond what you see" to find
the spiritual value in something, in this case art.
Source: http://29.media.tumblr.com/tumblr_lziafcnHVg1r9ztioo1_500.jpg

On page 36-37, Williams creates a list of Maritain's core arguments on the subject of art and what it should be. The list includes ideas about art such as:

• Art being an act of intelligence
• How art invites contemplation
• That art cannot be created for a narrow and specific goal (such as being simply beautiful or creating propaganda)
• When looking at art, we perceive the significance of a work outside of its physical nature

Other scholars who analyzed Maritain's concepts, such as Anthony Richard Haynes in his article Jacques Maritain's Definition of Art, likewise mention his strong belief in art conveying matters that are intangible and perhaps sacred. Haynes states, "For Maritain, the artist is inspired by being able to figuratively see the world through emotion... Maritain holds that the artist has an 'experience-knowledge' through the senses in divining the 'secret meaning' of things, in virtue of emotion."

Though I don't agree with everything that Maritain and Williams argued, I do agree with their point about art making one look more closely and find greater significance both in the artwork and in general life. For example, one could look at the work titled "In Me," by Johnson Tsang, and say that what she saw before her was a cage and porcelain clay put together. She would not be wrong, but she would be missing the point.

In Me
Johnson Tsang

The physical nature of the work is not what makes it resonate with people. Tangible textures and interesting surfaces certainly enhance a piece, but it is the feeling and ideas that give art lasting power. In taking a deeper look at Tsang's piece, one might reflect on the way a mournful cherub is caged inside the head of an adult, perhaps indicating the more innocent or truthful parts of ourselves that we lock away. 

There are many ideas that one could glean from a work such as this. It has a resonance that goes beyond one's initial view and makes her want to look closer and think harder.

 Another good example of art that requires careful observation and thought is Landscape with the Fall of Icarus, a painting believed to be by Pieter Bruegel.

Landscape with the Fall of Icarus
by Pieter Bruegel
Source: https://www.google.com/search?espv=2&biw=1439&bih=653&q=landscape+with+the+fall+of+icarus++painting&oq=
landscape+with+the+fall+of+icarus++painting&gs_l=serp.3..0l2j0i7i30l2j0i30j0i8i30.2538.2
538.0.2851.1.1.0.0.0.0.45.45.1.1.0....0...1.1.64.serp..0.1.45.xvHb4NOzN4k

The image appears to be an idyllic painting of a beautiful and pleasant coastal town, with a farmer going about his work and a few scattered ships sailing on a beautiful green sea. If this was all the painting had to offer, it would still be an impressive work of art, but it would not have quite as much staying power. In fact, it might come close to the kind of art Maritain dismisses as only pursuing beauty and not having any real substance.

However, the title of the piece makes one pause. The "fall of Icarus" refers to the Greek legend about a boy named Icarus whose father built wings made of wax and feathers so the two of them could fly out of prison. However, despite his father's warning, Icarus flew too close to the sun, melting the wax in the wings and causing him to fall into the sea. 

So where does the boy feature in the work of art that bears his name? Look closely. 

Landscape with the Fall of Icarus (close up)
Source: http://johnesimpson.com/images/breugelicarus_thefallen.jpg

Near the right bottom corner of the painting, near the ship closest to the foreground, is a tiny pair of thrashing legs and a few small feathers falling into the water.

Now the image takes on a darker tone, as the audience realizes how the village is going about its business while a young boy crashes to his death. As William Carlos Williams says in the last few lines of his poem about the painting,

Unsignificantly
off the coast
there was 

a splash quite unnoticed
this was
Icarus drowning ("Landscape" 16-21).

As mentioned previously by Williams and Maritain, good art allows one to see past the basic nature of a work and connect with something spiritual and significant. The intelligent creation of art leads one into deeper contemplation, and with works such as In Me and Landscape with the Fall of Icarus, one will find poignant and dramatic connotations when engaging in such reflection. Like many things in this world, one discovers more in art when they are willing to take a second glance.

Sources:

Williams, Rowan. Grace and Necessity: Reflections on Art and Love. London: Continuum International Publishing Group, 2005. Print.

Haynes, Anthony Richard. "Jacques Maritain's Definition of Art." New Blackfriars 96 (2015): 527-541. Web. 4 Oct. 2015.

Williams, Carlos William. "Landscape with the Fall of Icarus." Collected Poems: 1939-1962. William Carlos Williams. Vol 2. New York: New Directions Publishing Corp., 1962. Access: Poets.Org. Web. 4 Oct. 2015