“Faith - it’s like grey green. It feels like a pebble, smooth like a pebble; it’s got weight. While the divine is weightless.” Maria Hayes
Just a few weeks ago I organised an art exhibition called "Look! This Is My Faith', which took place at St Edmund's College, Cambridge, from 25 to 27 June. This event marked the culmination of the data collection phase of my year-long research project supported by the John Templeton Foundation. The project explored the artistic representation of personal perceptions of divinity and faith. I collaborated with visual artists because they could remain attentive to the constant flow of images and visual thought, which were the primary subjects of observation.
The Genesis of the Project
The journey began in July 2023 when I joined the Cross-Training in Psychology for Theologians fellowship, led by Dr Carissa Sharp and Dr Amy Daughton at the University of Birmingham. This cross-disciplinary initiative has been an eye-opener, merging the empirical foundations of cognitive science with theological scholarship. With the fellowship’s support, I secured a grant, propelling me into an enriching research project that blends art practice, theological questions and psychological inquiry.
Engaging with Artists
In February 2024, I initiated the collaboration with ten selected visual artists who are also practising Christians. These artists, seven women and three men, commenced a profound journey, merging creative practice with their unique personal insights and spiritual experiences. Each artist engaged in in-depth interviews where we discussed their art, spirituality, faith and religious practices, and how these intersected in their daily lives. These interviews were not mere conversations but a gateway into the visual and emotional worlds of the artists, capturing their interpretations of the divine and faith.
The Artistic Process
At the end of the interview, I asked them for a verbal definition of the terms "divine" and "faith." After the artists defined their understanding of these terms, I asked them: "What images were running through your mind as you tried to explain these concepts?" This question led them to "look" at these images again and focus on describing them rather than interpreting them. Some of them made instant sketches of these images. This exercise aimed to root their abstract spiritual experiences in tangible visual forms. Over the following months, the artists documented the evolution of their artworks through journals, notes, and photo and video recordings, creating a rich tapestry of reflections and transformations. At the end of the creative period (4-5 weeks), each artist developed an artwork or a series of artworks, alongside of meticulously documented reports mapping the evolution of their creations.
The Exhibition: A Visual Dialogue
The "Look! This Is My Faith" exhibition presenting a diverse array of artworks, each a unique interpretation of spiritual themes, is part of the dissemination plan of this research project. The 3-day in-person exhibition was visited by ca 130 people. Here are brief summaries of the featured artists and their works:
Svetlana Atlavina's "All Is One": Gold powder over Japanese paper depicting interconnectedness of the community in connection with the divine.
Fr. Matthew Askey's "Veil" and "Drawing Breath": Egg tempera on panel exploring themes of humanity in its vulnerability.
Colleen McLaughlin Barlow's "The Healing": Clay figures with recycled acrylic cubes symbolizing the transformative power of divine healing.
Edward Cearns' "Journey": Watercolor and ink on paper reflecting pilgrimage as the pathway of faith.
Alix Edwards' "Finding Source": Acrylics on canvas depicting stylised female bodies in flashes and “flames” of finger-painted strokes.
Sarah Fortais' "Bone Phase": A mask made from mudlarked bones and cast latex, examining the materiality and complexity of being.
Maria Hayes' "Hallowed Ground": Mixed media painting expressing the search for sacred in nature marked by humankind.
Jeanette Milbourn's "Celtic Cross": Textile art combining patchwork techniques to represent her spiritual heritage and practice.
Martyn Smith's "Flawed But Still Worthy": Mixed media work symbolizing the imperfections and inherent worthiness of human beings.
Chaja Nadia Verkerk's "Divine Self": A hessian cloak with bamboo structure, portraying faith as a supportive and necessary framework for entering the divine.
Reflecting on the Experience
The artists' responses to introspective questions during the reflective interviews revealed a spectrum of imagery and emotions associated with their faith and perceptions of the divine. For instance, Fr. Matthew Askey associated divinity with wholeness and light, while faith evoked vulnerability and freedom. Svetlana Atlavina visualized faith as peaceful and clear, akin to morning dew and sunlight, and Colleen McLaughlin Barlow saw healing and divine as transparent blue, symbolising the transition from illness to wellness.
Future Directions
For the last month, I have been delving into the diverse range of data I have collected, including sketches, diaries, and videos, as well as interviews and reflections. The first findings were presented in July 2024 at The Faraday Institute Summer Course, where I talked about the intriguing connection between Art, Spirituality, and Healing. In addition, I'm currently immersed in crafting a paper for an upcoming conference in August in Split, Croatia. The findings from this endeavour will be published, offering an invigorating perspective on the intersection of art, theology, and cognitive science. This project has further solidified my belief in the invaluable role of artists as collaborative partners in theological research, as they bring new insights and enrich our understanding of spiritual concepts in remarkable ways.
Conclusion
The "Look! This Is My Faith" exhibition has been a testament to the power of art in expressing and exploring complex theological ideas. Through the collaborative efforts of talented artists, we have opened new avenues for research and dialogue in theology and cognitive science. I am grateful to the John Templeton Foundation, the University of Birmingham, St Edmund's College, and all participating artists for making this project a resounding success.
For more information about the project and to view the exhibition online, please visit The Artists Project.
Below is Sarah Fortais in front of her artwork Bone Phase. Photo by Daniela Šekeříková.
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