Parable of the Sower
Lisa Snow Lady Acrylic on canvas 2010
A sower went out to sow his seed, and as he sowed, some fell on the path and was trampled on, and the birds of the air ate it up. Some fell on the rock; and as it grew up, it withered for lack of moisture. Some fell among thorns, and the thorns grew with it and choked it. Some fell into good soil, and when it grew, it produced a hundredfold. (Luke 8:5-8)
Snow Lady’s painting colorfully interprets this story of Jesus in four panels: crows attacking the seed; barren soil yielding nothing; thistles choking out the planting; and a final celebration panel with field yielding wheat and flowers filling the air.
Hope Too Much
Tim Timmerman Oil on wood/assemblage (including constructed wooden figures, brass, and found wood) 2010
But while he was still far off, his father saw him and was filled with compassion; he ran and put his arms around him and kissed him. But the father said to his slaves, “Quickly, bring out a robe — the best one — and put it on him; put a ring on his finger and sandals on his feet. And get the fatted calf and kill it, and let us eat and celebrate; for this son of mine was dead and is alive again; he was lost and is found!” And they began to celebrate. (Luke 15:20, 22-24)
Timmerman gives insight to the end of the story of the Prodigal. The restored child is now separated from that journey, that period of his life. He is enshrouded in the embrace of his father on a ledge that protects him from that past. Presiding above this scene is the sacrificial lamb of Christ. In this context the image of the lamb is full of multiple meanings. The lost sheep has also been found.
Go Fish
David E. Levine Manipulated Xerox 2010
And he said to them, “Follow me, and I will make you fish for people.” Immediately they left their nets and followed him. (Matthew 4:19, 20)
Levine’s Go Fish is open enough to recall several instances of fishing from Jesus’ ministry. Jesus called Peter and Andrew while they were fishing on the Sea of Galilee, where he told them he would make them fishers of men. Just as Jesus lived and moved among the masses, the foundation of this piece as a Goldfish Snack Crackers package places it within the realm of our common, everyday routines. Much of Levine’s work draws on Jesus’ knack for transforming the mundane moments of our lives into profound spiritual insights. In this piece, the gravity of Jesus’ calling seems to be trivialized. But the playfulness of the imagery belies the seriousness of the proclamation. Looking deeper, Go Fish helps us see that we commonly respond too lightly to the words and message of Christ.
Wolf in Sheep’s Clothing
Joan Bohlig Copperplate Etching 1974
Beware of false prophets, who come to you in sheep’s clothing but inwardly are ravenous wolves. (Matthew 7:15)
Bohlig playfully visualizes Jesus’ parable by placing a sheep’s pelt atop a wolf parading in daylight with his tongue flapping, ready for the kill. Wild grapes and prickly ash thorn bushes encircle the wolf.
The Sower
Edward Knippers Oil on panel 2004
A sower went out to sow… The sower sows the word. (Mark 4:3,14)
Knippers’ work shows a world in process of trans-formation by the power of the word. The sower is a powerful, muscular figure, yet he seems to struggle to complete his task. An angel reaches down from heaven to support him. This work reminds us that we see the world around us but we don’t recognize the cosmic glory of God’s grace at work, how he carries us in each moment. This work of art opens our eyes to see with a spiritual imagination.
Speck and Plank (video)
Amber Block Wood sculpture and video 2009
Why do you see the speck in your neighbor’s eye, but do not notice the log in your own eye? Or how can you say to your neighbor, “Let me take the speck out of your eye,” while the log is in your own eye? You hypocrite, first take the log out of your own eye, and then you will see clearly to take the speck out of your neighbor’s eye. (Matthew 7:3-5)
Block’s sculpted and painted wooden eye grows in impact when paired with its video companion, which incorporates the creation of the sculpture. The progression of the video image unfurls complex nuances within the parable, expanding its meaning and significance.
Speck and Plank (sculpture)
Amber Block Wood sculpture and video 2009
Why do you see the speck in your neighbor’s eye, but do not notice the log in your own eye? Or how can you say to your neighbor, “Let me take the speck out of your eye,” while the log is in your own eye? You hypocrite, first take the log out of your own eye, and then you will see clearly to take the speck out of your neighbor’s eye. (Matthew 7:3-5)
Block’s sculpted and painted wooden eye grows in impact when paired with its video companion, which incorporates the creation of the sculpture. The progression of the video image unfurls complex nuances within the parable, expanding its meaning and significance.
Parable of the Sower
DeLynn Coppoletti Acrylic on Wood Panel Triptych 2010
A sower went out to sow his seed; and as he sowed, some fell on the path and was trampled on, and the birds of the air ate it up. Some fell on the rock; and as it grew up, it withered for lack of moisture. Some fell among thorns, and the thorns grew with it and choked it. Some fell into good soil, and when it grew, it produced a hundredfold. (Luke 8:4-8)
Coppoletti’s triptych appears to be a straightforward narrative until one recognizes the role of the rocks in the soil. They may suggest an unsuitable location for growth, but they also represent the human heart. The large stones exhibit the new life and growth enjoyed when the seed finds fertile soil.
Shelter in the Mustard Seed
Shirley Cunningham Fiber assemblage 2010
He also said, “With what can we compare the kingdom of God, or what parable will we use for it? It is like a mustard seed, which, when sown upon the ground, is the smallest of all the seeds on earth; yet when it is sown it grows up and becomes the greatest of all shrubs, and puts forth large branches, so that the birds of the air can make nests in its shade.” (Mark 4:30-32)
Cunningham’s assemblage provides a visual comparison of the miraculous concept where Jesus compared the mustard seed to the Kingdom of God. By incorporating a diminutive bead that dangles from the threadlike root, she highlights what massive and majestic growth can come from a tiny source.
The Good Shepherd with Imelda
Wayne Forte Oil on canvas 2010
Which one of you, having a hundred sheep and losing one of them, does not leave the ninety-nine in the wilderness and go after the one that is lost until he finds it? When he has found it, he lays it on his shoulders and rejoices. And when he comes home, he calls together his friends and neighbors, saying to them, “Rejoice with me, for I have found my sheep that was lost.” (Luke 15:4–6)
Forte’s painting considering the Lost Sheep is disquieting. Originally part of an exhibition in the Philippines, where it was paired with Forte’s The Good Shepherd with Adolf, it offers a unique view of the depth of the Good Shepherd’s love. Among a field of people, Jesus seeks to rescue the lost sheep. This image finds the Good Shepherd rescuing what appears to be Imelda Marcos within a mass of Filipinos. Audacious or even distasteful, the artist reaches more forcibly to get to the heart of this parable of Jesus.
The Sower and the Seeds
Ryan Jackson Oil on canvas polyptych 2010
And as he sowed, some seed fell on the path, and the birds came and ate it up. Other seed fell on rocky ground, where it did not have much soil, and it sprang up quickly, since it had no depth of soil. And when the sun rose, it was scorched; and since it had no root, it withered away. Other seed fell among thorns, and the thorns grew up and choked it, and it yielded no grain. Other seed fell into good soil and brought forth grain, growing up and increasing and yielding thirty and sixty and a hundredfold. (Mark 4:4-8)
This polyptych portrays a straightforward approach to the famous parable. The paintings were done using only earth tones to capture the rawness and simplicity of this agrarian allegory, and each image was painted as a close-up in order to create a sense of poetic contemplation.
For the One
Marianne Lettieri Mixed media construction 2010
So he told them this parable: “Which one of you, having a hundred sheep and losing one of them, does not leave the ninety-nine in the wilderness and go after the one that is lost until he finds it?” (Luke 15:3-4)
Lettieri applies the parable of the Lost Sheep to our time. Among the field of faces, reminiscent of those that appear on milk cartons, rests a magnifying glass to look for what is lost. Like her other works, For the One draws on “found objects and the insignificant castoffs of society” to create art that recognizes the enchantment of everyday life. In this way, this ordinary magnifying glass also becomes a treasure, thus alluding to another of Jesus’ parables, the Pearl of Great Price. The mixing of stories deepens the work — we each become Christ’s costly pearl and the object of his search.
Cockcrow
Joan Bohlig Copperplate Etching 1984
Therefore, keep awake — for you do not know when the master of the house will come, in the evening, or at midnight, or at cockcrow, or at dawn. (Mark 13:35)
Bohlig considers Christ’s statements about his imminent return in this small etching where Jesus warns us to be watchful, because we know not when the master of the house will return. Through the use of swirling background patterns, Bohlig alludes to the uncertainty of the hour of Christ’s return and the end of time as we know it. The screeching rooster becomes a visual reminder, a warning that we must always be prepared.
The Kingdom Is
David McCoy Mixed media in antique wood change counter 2005
The kingdom of heaven is like a treasure hidden . . . (Matthew 13:44)
McCoy explores several parables from Matthew 13 in this mixed-media assemblage. Following Christ’s example by placing materials from everyday life into his work, the artist leads us through the parables of the sower, weeds, mustard seed, yeast, hidden treasure, pearl and net. Even the use of a standard tool from Jesus’ trade hints at the challenge from those in his hometown: “Where did this man get this wisdom and these miraculous powers? Isn’t this the carpenter’s son?” Together, the objects in this work point beyond Jesus’ use of the ordinary to his divine calling to communicate the deeper truths of the Kingdom.
Exit Strategy (Rapture Engine) 1
Dan McGregor Oil on panel with hardwood construction 2005
Then two will be in the field; one will be taken and one will be left. Two women will be grinding meal together; one will be taken and one will be left. Keep awake therefore, for you do not know on what day your Lord is coming. But understand this: if the owner of the house had known in what part of the night the thief was coming, he would have stayed awake and would not have let his house be broken into. Therefore you also must be ready, for the Son of Man is coming at an unexpected hour. (Matthew 24:40-44)
McGregor examines Jesus’ teaching on the end of the age in two works from his Exit Strategy series. As a woman prepares a meal and a man mows his lawn, we notice that something is askew: a bowl has fallen to the kitchen floor, spilling its contents; a rake seems to be standing on end, ready to drop to the ground. We understand that each composition is missing a figure.
These artworks have been constructed with turning handles and individual sections that seem to indicate a device or machine to aid in the “exit strategy.” The subtle insertion of the cruciform in the paintings implies the centrality of Christ’s sacrifice for everyday life and the end of time. The tree at the center of the yard is a more obvious reminder of the cross of Christ, but the sink, window, and cabinets in the kitchen also form a cross. In fact, the central position of the faucet in this scene alludes to Christ, the Living Water.
Exit Strategy (Rapture Engine) 2
Dan McGregor Oil on panel with hardwood construction 2006
Then two will be in the field; one will be taken and one will be left. Two women will be grinding meal together; one will be taken and one will be left. Keep awake therefore, for you do not know on what day your Lord is coming. But understand this: if the owner of the house had known in what part of the night the thief was coming, he would have stayed awake and would not have let his house be broken into. Therefore you also must be ready, for the Son of Man is coming at an unexpected hour. (Matthew 24:40-44)
McGregor examines Jesus’ teaching on the end of the age in two works from his Exit Strategy series. As a woman prepares a meal and a man mows his lawn, we notice that something is askew: a bowl has fallen to the kitchen floor, spilling its contents; a rake seems to be standing on end, ready to drop to the ground. We understand that each composition is missing a figure.
These artworks have been constructed with turning handles and individual sections that seem to indicate a device or machine to aid in the “exit strategy.” The subtle insertion of the cruciform in the paintings implies the centrality of Christ’s sacrifice for everyday life and the end of time. The tree at the center of the yard is a more obvious reminder of the cross of Christ, but the sink, window, and cabinets in the kitchen also form a cross. In fact, the central position of the faucet in this scene alludes to Christ, the Living Water.
The Good Samaritan Meets Jim Crow
Gwen Meharg Acrylic with handmade stamps 2010
A man was going down from Jerusalem to Jericho, and fell into the hands of robbers, who stripped him, beat him, and went away, leaving him half dead. Now by chance a priest was going down that road; and when he saw him, he passed by on the other side. So likewise a Levite, when he came to the place and saw him, passed by on the other side. (Luke 10:30-32)
Meharg’s painting explores this familiar story in an updated fashion. For us to understand the full weight of Jesus’ message of love for our neighbor, the artist confronts American culture’s own history of racial prejudices. Utilizing repetitious images of buses, drinking fountains, school desks, and public toilets, she reminds us that, though we are integrated through the laws of the land, the separations and segregations of our “enlightened” society are not simply part of some far distant past. The wounds of our society remain fresh. Segregation may seem like an institution of the past—or a divide between ancient Israelites and Samaritans—but separation continues to plague our best intentions.
The Pharisee and the Tax Collector
Andy Rash Mixed media assemblage 2010
Two men went up to the temple to pray, one a Pharisee and the other a tax-collector. The Pharisee, standing by himself, was praying thus, “God, I thank you that I am not like other people: thieves, rogues, adulterers, or even like this tax-collector. I fast twice a week; I give a tenth of all my income.” But the tax-collector, standing far off, would not even look up to heaven, but was beating his breast and saying, “God, be merciful to me, a sinner!” I tell you, this man went down to his home justified rather than the other; for all who exalt themselves will be humbled, but all who humble themselves will be exalted. (Luke 18:10-14)
Rash explores the contrast between pride and humility, and God’s recognition of the state of one’s heart. Immediately seen, and in front of all else, is the puffed-up Pharisee, full of himself and his own words. In the background, the tax collector is down in the dirt, wearing the shroud of sackcloth and ashes. The humbled servant has to be sought out by the viewer, focused on to be seen, and even still remains at a distance. Behind the scene though, his prayers are heard, and from the heavens God sees his repentance and he is exalted, while the Pharisee is left to his thin, fragile existence.
The Pharisee and the Tax Collector (detail)
Andy Rash Mixed media assemblage 2010
Two men went up to the temple to pray, one a Pharisee and the other a tax-collector. The Pharisee, standing by himself, was praying thus, “God, I thank you that I am not like other people: thieves, rogues, adulterers, or even like this tax-collector. I fast twice a week; I give a tenth of all my income.” But the tax-collector, standing far off, would not even look up to heaven, but was beating his breast and saying, “God, be merciful to me, a sinner!” I tell you, this man went down to his home justified rather than the other; for all who exalt themselves will be humbled, but all who humble themselves will be exalted. (Luke 18:10-14)
Rash explores the contrast between pride and humility, and God’s recognition of the state of one’s heart. Immediately seen, and in front of all else, is the puffed-up Pharisee, full of himself and his own words. In the background, the tax collector is down in the dirt, wearing the shroud of sackcloth and ashes. The humbled servant has to be sought out by the viewer, focused on to be seen, and even still remains at a distance. Behind the scene though, his prayers are heard, and from the heavens God sees his repentance and he is exalted, while the Pharisee is left to his thin, fragile existence.
The Lost Son
George Robinson Linoleum block prints with hand lettering 2009
So he set off and went to his father. But while he was still far off, his father saw him and was filled with compassion; he ran and put his arms around him and kissed him. Then the son said to him, “Father, I have sinned against heaven and before you; I am no longer worthy to be called your son.” But the father said to his slaves, “Quickly, bring out a robe—the best one—and put it on him; put a ring on his finger and sandals on his feet. And get the fatted calf and kill it, and let us eat and celebrate; for this son of mine was dead and is alive again; he was lost and is found!” (Luke 15:20-24)
Robinson has offered a series of five linoleum block prints in his handmade artist’s book of the Lost Son: the prodigal son leaves home; he engages in a life of drinking and carousing; he sits among the swine; he makes the journey home; and he is welcomed by his father.
A Suggestion of How Many Times to Knock Before You May Possibly Get an Answer
Tim Timmerman Oil on wood/assemblage (including ceramic, cast glass, and found objects and wood) 2010
And he said to them, “Suppose one of you has a friend, and you go to him at midnight and say to him, ‘Friend, lend me three loaves of bread; for a friend of mine has arrived, and I have nothing to set before him.’ And he answers from within, ‘Do not bother me; the door has already been locked, and my children are with me in bed; I cannot get up and give you anything.’ I tell you, even though he will not get up and give him anything because he is his friend, at least because of his persistence he will get up and give him whatever he needs. So I say to you, “Ask, and it will be given to you; search, and you will find; knock, and the door will be opened for you. For everyone who asks receives, and everyone who searches, finds, and for everyone who knocks, the door will be opened.” (Luke 11:5-10)
Timmerman draws our attention to Jesus’ picture of prayer as being an annoying neighbor in the night. It seems that a very integral part of our relationship with God is giving Him all of ourselves, including our frustration at not receiving an answer to our liking or His lack of apparent response to the expedience we hoped for. While you wait before this piece, notice the variety of hidden things behind the screen: St. John, an owl, a couple, a dog, and even a donkey. This piece reminds us of Christ’s promise to those who persist in asking, seeking and knocking.
The Tree from a Mustard Seed
Anne Brink Colored pencil on paper 2007
The kingdom of heaven is like a mustard seed that someone took and sowed in his field; it is the smallest of all the seeds, but when it has grown it is the greatest of shrubs and becomes a tree, so that the birds of the air come and make nests in its branches. (Matthew 13:31-32)
Brink tackles Christ’s parable where he compares the Kingdom of God to a tiny mustard seed. She depicts the tree as the home for the birds of the air. As with many of her works, the peoples of the earth celebrate with all of creation in the realization of the Kingdom of God on earth.
The Great Dinner
Anne Brink Colored pencil on paper 2007
He said also to the one who had invited him, “When you give a luncheon or a dinner, do not invite your friends or your brothers or your relatives or rich neighbors, in case they may invite you in return, and you would be repaid. But when you give a banquet, invite the poor, the crippled, the lame, and the blind. And you will be blessed, because they cannot repay you, for you will be repaid at the resurrection of the righteous.” (Luke 14:12-14)
Brink says, “I am a Christian artist who emphasizes the teachings of Jesus and who loves Jesus’ stories and parables. I’m especially interested in the teaching about the importance of loving God and loving one’s neighbor. To me, it is the power of spirit that enables us to make these connections and to know and love deeply both God and other people.” The Great Dinner is filled with neighbors, friends, and all who came to celebrate together, reminding us to live a life of unconditioned generosity.
We All Got Up to Dance
Gregg Wilimek Mixed media construction 2003
Then Jesus said to him, “Someone gave a great dinner and invited many. At the time for the dinner he sent his slave to say to those who had been invited, ‘Come; for everything is ready now.’ But they all alike began to make excuses. …So the slave returned and reported this to his master. Then the owner of the house became angry and said to his slave, ‘Go out at once into the streets and lanes of the town and bring in the poor, the crippled, the blind, and the lame.’’’ (Luke 14:16-20)
Wilimek leads us into the parable of The Great Banquet, once everyone has gathered and dinner has concluded. Even the crippled have now left their crutches and canes at the table to join the dance. Our attention is drawn by converging lines, and even by the setting of a cornfield, to the head of the table where a scarecrow presides. The cruciform under its clothing connects the Christian cross with the human frame and speaks to the underlying structure of divine support. Framed within a wooden construction, this piece connects to the highly symbolic paintings done on church altarpieces during the Middle Ages by creating a small, sacred space that invites quiet, attentive worship.
I Am Willing
Gregg Wilimek Mixed media construction 2003
Which one of you, having a hundred sheep and losing one of them, does not leave the ninety-nine in the wilderness and go after the one that is lost until he finds it? When he has found it, he lays it on his shoulders and rejoices. And when he comes home, he calls together his friends and neighbors, saying to them, “Rejoice with me, for I have found my sheep that was lost.” (Luke 15:4-6)
Wilimek’s construction explores the dual meanings of popular biblical symbols. The ninety-nine sheep, left by the Good Shepherd while searching for the one, are the main elements of this altarpiece. The Good Shepherd, however, shows us exactly how he will lay down his life for his flock. The image of the scarecrow, like a crucified man, brings the message of Jesus into our contemporary world.
The Good Samaritan
Kirsten Malcolm Berry Watercolor on paper 2006
But a Samaritan while travelling came near him; and when he saw him, he was moved with pity. He went to him and bandaged his wounds, having poured oil and wine on them. (Luke 10:33,34)
Berry’s piece focuses on the moment of healing, when the Samaritan binds the wounds of the man who is robbed, beaten, and left for dead. She illustrates the lavish expenditure on the part of the Samaritan, who unsparingly pours ointments upon the wounds of a man who hated him and his kind. The text of the parable, in the original Greek, surrounds the vessels. The very words of Christ seem to encircle this healing action.