When the Lord restored the fortunes of Zion,
we were like those who dream.
Then our mouth was filled with laughter,
and our tongue with shouts of joy;
then they said among the nations,
“The Lord has done great things for them.”
The Lord has done great things for us;
we are glad.
Restore our fortunes, O Lord,
like streams in the Negeb!
Those who sow in tears
shall reap with shouts of joy!
He who goes out weeping,
bearing the seed for sowing,
shall come home with shouts of joy,
bringing his sheaves with him.
Psalm 126 is “a community lament that recalls a previous time of God’s mercy on his people and asks for a fresh show of that mercy” (ESV Study Bible). The second stanza anticipates not only a literal food harvest but also a more general flourishing of life in all its aspects, an abundant crop of joy.
SONG: “Psalm 126” by Isaac Wardell | Performed by Molly Parden, on Bifrost Arts’ He Will Not Cry Out (2013)
Isaac Wardell’s musical adaptation of Psalm 126 was regularly programmed into the worship services of my former church, Citylife, usually as a going-out song, and it was always a favorite of mine. If you’d like to sing it at your church, you can license it through CCLI (#7023230).
This post belongs to the weekly series Artful Devotion. If you can’t view the music player in your email or RSS reader, try opening the post in your browser.
To view all the Revised Common Lectionary scripture readings for the Fifth Sunday in Lent, cycle C, click here.
James Webb: Prayer,Art Institute of Chicago, September 6–December 31, 2018: A sound installation that began, said the artist, with the question “What would it be like to listen to all the prayers of a city simultaneously?” “Prayer is an ongoing project, remade around the world since its first presentation in Webb’s home city of Cape Town in 2000. The Chicago version is the 10th and largest to date, as well as the first in North America. The work consists of recordings of prayer from individuals who belong to dozens of faiths and spiritual affinities in the host city. Listeners are invited to remove their shoes and walk the length of the carpet . . . or to kneel or otherwise lower themselves next to a speaker to listen more closely to particular prayers.”
In his review for the Chicago Tribune, Steve Johnson interviewed several listener-participants. One woman said she stumbled into the museum after missing her train stop on her way home from work; it was a fortuitous accident, she said, because she had been feeling overwhelmed by the suffering in the city (addiction, gun violence, etc.), and hearing the praying, singing, chanting in the gallery helped give her hope.
Click here to see a short video feature of the Stockholm version of Prayer, which took place last year.
Encounters,St. Martin-in-the-Fields, London, September 18–November 19, 2018: For the past decade, artist and visual social historian Nicola Green has been granted access to private meetings between religious leaders around the world from a variety of faith traditions. These meetings have gone largely unreported in the media, and there has been limited reflection on the encouraging trend they represent. To help remedy the situation, Green has produced thirty-one portraits depicting leaders like Pope Francis, the Dalai Lama, Archbishop Desmond Tutu, former Grand Mufti of Egypt Ali Gomaa, Emeritus Chief Rabbi Jonathan Sacks, and many more—each set against a unique patterned background inspired by liturgical vestments or objects, manuscript illuminations, or sacred architecture particular to the sitter. The faces are obscured to prompt reflection on the relationship between the individual and his office.
“Green makes a compelling case through her art and writings that we have entered a new era in interreligious relations. What is remarkable today is the depth of relationships being formed by faith leaders across historically deep divides. . . . At its heart, the Encounters project is an exploration of difference. It asks: How can people of different faiths, or none, communicate strongly held convictions, whilst respectfully allowing others to do the same? What can be gained from such encounters, and how can we identify common goals whilst working from different perspectives? And how can deep religious commitments become an asset rather than an impediment to understanding and appreciating diversity? Green invites viewers to think about our relationship to those we consider wholly ‘other’ to ourselves, and how this, in turn, shapes our own identity.”
Armenia: Art, Religion, and Trade in the Middle Ages, Metropolitan Museum of Art, New York City, September 22, 2018–January 13, 2019: “This is the first major exhibition to explore the remarkable artistic and cultural achievements of the Armenian people in a global context over fourteen centuries—from the fourth century, when the Armenians converted to Christianity in their homeland at the base of Mount Ararat, to the seventeenth century, when Armenian control of global trade routes first brought books printed in Armenian into the region. Through some 140 objects—including opulent gilded reliquaries, richly illuminated manuscripts, rare textiles, cross stones (khachkars), precious liturgical furnishings, church models, and printed books—the exhibition demonstrates how Armenians developed a unique Christian identity that linked their widespread communities over the years.”
Anglo-Saxon Kingdoms: Art, Word, War,British Library, London, October 19, 2018–February 19, 2019: This “largest ever exhibition on the history, literature and culture of Anglo-Saxon England, spanning all six centuries from the eclipse of Roman Britain to the Norman Conquest,” brings together art objects, manuscripts, and other artifacts from various European collections and from the British Library itself. Because Christianization of the kingdom began in the sixth century, much of its art reflects that. Two highlights are the Codex Amiatinus (a giant Northumbrian Bible taken to Italy in 716 as a gift to the pope and returning to England for the first time since) and the Lindisfarne Gospels (the earliest surviving example of the Gospel texts in English and an exemplary fusion of Anglo-Saxon, Celtic, Pictish, and Mediterranean art styles)—which will be the subject of a lecture on Monday.
Attending: Paintings and Prints by Julie Shelton Snyder, Gallery at Convergence, Alexandria, Virginia, October 26–December 22, 2018: This exhibition features new work by the artist completed during her residency at the foot of Mount Fuji in Japan, which she spent studying the mokuhanga traditional woodblock printmaking technique. “In my work,” says Snyder, “I explore movement and stillness, being in control and letting go. . . . My longing for stillness is a physical and spiritual quest, and this quest has led me to the practice of Centering Prayer. Through art making, I am given the means to express spiritual truths I cannot otherwise articulate. Expressing the ineffable and the invisible is the aim of my work, and I view abstraction as the best means for this expression.”
Accompanying the exhibition is a series of events, including workshops, prayer services, and, on December 2, “Attending to Advent: A Multisensory Advent Experience”—which I will be, ahem, attending.
The Renaissance Nude,J. Paul Getty Museum, Los Angeles, October 30, 2018–January 27, 2019: “Inspired by a renewed interest in classical sculpture and closer study of nature, Renaissance artists made the nude body ever more vibrant, lifelike, and central to their practice. Yet, pious European Renaissance society was troubled by the nude and its new sensuality—a conflicted response echoed in the world today, where images of nudity have become ubiquitous. This exhibition, with more than 100 objects by Leonardo da Vinci, Raphael, Michelangelo, Dürer, and others, traces the nude’s controversial emergence and its transformative effect on European art and culture.”
It was interesting to hear from curator Thomas Kren that “artists’ and viewers’ attitudes toward the nude were as varied and complex centuries ago as they are today,” provoking conflicting feelings of shame, admiration, curiosity, desire, disgust, anger. Learn more in his fascinating Getty blog post “Deconstructing Myths about the Nude in Renaissance Art,” and in the catalog he edited. Also worth checking out is the blog post by art historian Jill Burke: “Sex, Power, and Violence in the Renaissance Nude.” The exhibition focuses on the period 1400–1530, but even within that narrow slice of history, the unclothed body, male and female, functioned in diverse ways in art.
A large number of biblical figures are represented in the exhibition’s list of artworks, including Adam and Eve, Job, Bathsheba, Mary and the infant Christ, Christ at his baptism and in his passion, and the saved and the damned on the last day, as well as extrabiblical martyrs (especially Saint Sebastian) and devout ascetics.
Blessed are the undefiled in the way, who walk in the law of the LORD. (KJV)
Joyful are people of integrity,
who follow the instructions of the LORD. (NLT)
You’re blessed when you stay on course,
walking steadily on the road revealed by GOD. (The Message)
SONG: “Beati quorum via” (Blessed are those whose way) | Music by Charles Villiers Stanford, ca. 1892 | Performed by VOCES8, 2017
Stanford’s “Beati quorum via,” op. 38, no. 3, is a motet for mixed unaccompanied six-part choir, a setting of Psalm 119:1 in Latin: “Beati quorum via integra est, qui ambulant in lege Domini.” It is the last of Stanford’s Three Latin Motets, published in 1905—the other two being on the subjects of Christ’s ascension and the souls of the just at rest in heaven.
This post belongs to the weekly series Artful Devotion. If you can’t view the music player in your email or RSS reader, try opening the post in your browser.
To view all the Revised Common Lectionary scripture readings for Proper 26, cycle B, click here.
Bless the LORD, O my soul!
O LORD my God, you are very great!
You are clothed with splendor and majesty,
covering yourself with light as with a garment,
stretching out the heavens like a tent.
He lays the beams of his chambers on the waters;
he makes the clouds his chariot;
he rides on the wings of the wind;
he makes his messengers winds,
his ministers a flaming fire.
He set the earth on its foundations,
so that it should never be moved.
You covered it with the deep as with a garment;
the waters stood above the mountains.
At your rebuke they fled;
at the sound of your thunder they took to flight.
The mountains rose, the valleys sank down
to the place that you appointed for them.
You set a boundary that they may not pass,
so that they might not again cover the earth.
You make springs gush forth in the valleys;
they flow between the hills;
they give drink to every beast of the field;
the wild donkeys quench their thirst.
Beside them the birds of the heavens dwell;
they sing among the branches.
From your lofty abode you water the mountains;
the earth is satisfied with the fruit of your work.
You cause the grass to grow for the livestock
and plants for man to cultivate,
that he may bring forth food from the earth
and wine to gladden the heart of man,
oil to make his face shine
and bread to strengthen man’s heart.
The trees of the LORD are watered abundantly,
the cedars of Lebanon that he planted.
In them the birds build their nests;
the stork has her home in the fir trees.
The high mountains are for the wild goats;
the rocks are a refuge for the rock badgers.
He made the moon to mark the seasons;
the sun knows its time for setting.
You make darkness, and it is night,
when all the beasts of the forest creep about.
The young lions roar for their prey,
seeking their food from God.
When the sun rises, they steal away
and lie down in their dens.
Man goes out to his work
and to his labor until the evening.
O LORD, how manifold are your works!
In wisdom have you made them all;
the earth is full of your creatures.
Here is the sea, great and wide,
which teems with creatures innumerable,
living things both small and great.
There go the ships,
and Leviathan, which you formed to play in it.
These all look to you,
to give them their food in due season.
When you give it to them, they gather it up;
when you open your hand, they are filled with good things.
When you hide your face, they are dismayed;
when you take away their breath, they die
and return to their dust.
When you send forth your Spirit, they are created,
and you renew the face of the ground.
May the glory of the LORD endure forever;
may the LORD rejoice in his works,
who looks on the earth and it trembles,
who touches the mountains and they smoke!
I will sing to the LORD as long as I live;
I will sing praise to my God while I have being.
May my meditation be pleasing to him,
for I rejoice in the LORD.
Let sinners be consumed from the earth,
and let the wicked be no more!
Bless the LORD, O my soul!
Praise the LORD!
SONG: “Psalm 104” | Text: Psalm 104:1–5 (Hebrew) | Traditional Jewish Babylonian melody, arranged by Yonnie (Jonathan) Dror | Performed by Yamma Ensemble, 2012
An ancient setting of the first five verses of Psalm 104, composed by the Jewish diaspora community in Babylon and passed down aurally, is refreshed through this modern arrangement by Yamma Ensemble, whose instrumentation blends the old and the new. It opens with a virtuosic oud solo by Sefi Asfuri. At 1:13, the other instrumentalists come in, creating rhythmic complexity: Yonnie Dror (clarinet and flute), Aviad Ben Yehuda (darbuka), and Avri Borochov (double bass). The lead vocalist, Talya G.A Solan, enters at 2:00. At 3:48, all the instruments drop out, and male vocals are added.
While this particular performance is from 2012, an earlier one, from 2011, can be heard on the album Yamma* under the title “Bless the Lord, O My Soul.” The lyrics are on YouTube.
Yamma Ensemble presents original contemporary Hebrew music in which group members stay true to the character of the Middle East, the region where they were born and raised. The soulful, exotic music is accompanied by ancient musical instruments (kopuz, duduk, ney, oud, shofar, hand drums), which are typical of the Middle East. In addition to this unique art, Yamma also performs the traditional music and material of the various Jewish diasporas. We present songs of the Jewish communities from Yemen, Babylon, and Sefarad, as well as Hasidic music, with the fascinating forms and rhythms that have been preserved by generations of Jewish traditions. [source]
The manuscript illumination above is one of ten from Barbara Wolff’s unbound cycle Psalm 104:You Renew the Face of the Earth. The artist writes (in the third person),
The 104th Psalm is a song in celebration of all creation. The psalmist marvels at the infinite variety of life on earth. With words that reflect a deep awareness of our finitude and an implicit faith in the eternity of creation, we are reminded of the intricate web which connects all living creatures. In the ten illuminations which comprise Psalm 104: You Renew the Face of the Earth, Barbara Wolff has attempted to reflect some of the light and brilliance of this word picture of the cosmos and illuminate its profound sense of reverence for all creation. In a number of the paintings she has portrayed flora and fauna which the ancient Psalmist would certainly have known, and which still may be found in the land of Israel today. She has included the flowers and grasses of its fields and forests, birds which pass through the land each spring and fall, and sea creatures of the Mediterranean, from a precious Murex snail to the great whales.
Prior to pursuing a career in fine art, Wolff spent many years illustrating natural science texts, honing her eye to see and her hands to reproduce the miniscule details of different plant, animal, and insect species. In the early 2000s, on a whim, she took a course in medieval manuscript illumination, learning, among other things, how to work with parchment, gesso, mineral pigments, and precious metal leaf (silver, gold, and platinum). “It just changed by life,” she said. She has since devoted the bulk of her time to illuminating Jewish texts, a focus made possible by individual and institutional patrons. Her Psalm 104 and RoseHaggadah were commissioned by philanthropists Daniel and Joanna S. Rose and subsequently donated to the Morgan Library and Museum in New York City. Other patrons of hers include the Israel Museum and the Jewish Theological Seminary of America.
Psalm 104 is about beauty. It is about other things as well, true, but it starts with beauty and returns to it as a touchstone. It describes the world with rapturous metaphor. God, who is “clothed with glory and majesty,” who covers himself with “light as with a garment, who stretches out the heavens like a curtain,” has made the world in his image.
When you [see Wolff’s illumination cycle], you are surrounded by the wild precise beauty of that creation, in rich, lush, exquisite, witty, masterfully detailed, controlled miniatures. To [view these paintings] is to be stunned by beauty.
To view all ten illuminations from Wolff’s Psalm 104 cycle and to purchase facsimiles, visit http://www.artofbarbarawolff.com/projects.php?psalm. To learn more about the materials Wolff uses and to read commentaries on individual folios, see the links below.
I will be going on vacation soon and will be mostly unplugged, so you will notice less frequent blog posts for a few weeks. I’ll cue up some Artful Devotions to be published automatically each Tuesday I’m gone but won’t be posting the links to the blog’s Twitter and Facebook pages as I usually do—so be sure to check the site instead! (Or subscribe by email by clicking the “Follow” link, located in the sidebar if viewing from your computer or at the bottom if viewing from your phone.) My regular publishing schedule will resume in September.
ARCHAEOLOGICAL FIND: “Discovery of Jewish Mosaics in Israel Bring Color to Biblical Accounts” by Sarah E. Bond: “At the ancient site of Huqoq, near the Sea of Galilee in modern Israel, a number of stunning mosaics depicting biblical, astrological, and historical narratives have been uncovered in a Jewish village that flourished during the late Roman empire. The colorful and large number of mosaics found in a synagogue challenge traditional views about Jewish art of the period as symbolic rather than representational of biblical texts, bland, and in decline during the period.”
SONGWRITING CONTEST: “In an effort to encourage Psalm-singing, Church of the Servant [in Grand Rapids, Michigan] invites congregational songwriters to submit a Psalm-based song to its 2018 COS New Psalm Contest. The winner will receive a $500 award. There is no entry fee and the contest is open to all. Submissions must be emailed or postmarked by October 1, 2018. The song will be premiered in worship on January 27, 2019. Church of the Servant is a Christian Reformed Church with a rich history of encouraging the arts in worship. Its worship is Reformed, liturgical, participatory, eclectic, and open to creative new worship expressions.” Continue reading “Roundup: Jewish mosaics; New Psalm Contest; revising hymns; tree-inspired chapel; and more”→
BOOK EXCERPT: “Reality, Art, and Prayer” by Thomas Merton: In this excerpt from No Man Is an Island (1955), Merton talks about “aesthetic formation,” about how “music and art and poetry attune the soul to God”—art that doesn’t perform that function, he says, isn’t worthy of the name! Some might think that the spiritual solution to overstimulated senses (so many images, so much noise) is to close our eyes and ears. But that’s not necessarily so, as Merton explains: “The first step in the interior life, nowadays, is not, as some might imagine, learning not to see and taste and hear and feel things. On the contrary, what we must do is begin by unlearning our wrong ways of seeing, tasting, feeling, and so forth, and acquire a few of the right ones.” Yes! This is what I was trying to get at in my essay “Disciplining our eyes with holy images.”
KICKSTARTER CAMPAIGN: Songs for the Sojourn by Bellwether Arts: The same liturgical arts initiative that brought you this Advent/Christmas package is now poised to release a set of songs, visual art, and prose devotions inspired by the Bible’s “psalms of ascent,” which were likely sung by Jewish pilgrims as they ascended the road to Jerusalem for their three major annual festivals. At the head of the project is Bruce Benedict, founder of Cardiphonia, who in 2010 received a grant from the Calvin Institute of Christian Worship to commission songwriters and visual artists to help his congregation explore, through their respective disciplines, these fifteen psalms (read his application here). The project was so enriching to those involved that he recently decided to expand it to include even more songwriters, painters, and writers—the fruits of which are being made available to the public as a double-disc album, songbook, and art-filled devotional book.
While the songs have been recorded, Bellwether needs your help to finance the mixing, mastering, and disc pressing and the printing of the other two products, as well as to pay the new artists involved. Pledging money in exchange for a reward (essentially, placing a preorder) is a tangible way to support the project. Visit their Kickstarter page for more information or to make a pledge. Campaign ends March 23.
(For other artistic responses to Psalm 133, see this artful devotion featuring the Psalter Project and a William Walker mural, and the poem “Aaron’s Beard” by Eugene Peterson.)
POEM CYCLE:“A Small Psalter” by Pádraig J. Daly: I really love this contribution in the current issue of Image journal—twenty-two modern-day psalms by Irish poet-priest Pádraig J. Daly. Like the biblical psalms, these poems express a range of emotions and postures before God, from sorrow and frustration to joy and awe. Here’s #12:
We are numbed, Lord, by number;
But you, being Other, know
Each single form that kneels at night,
Each heart enchanted by a meadow;
And hear our joys and heed our sighs.
And all we have and are, as we come naked here—
The very self of us!—
Comes from no thing in us
But from you, who make in us an emptiness
That you alone suffice.
FILM: Loving Vincent, dir. Dorota Kobiela and Hugh Welchman: The Oscars are the only occasion of the year that I watch live TV, and I’m really looking forward to the show this Sunday. One of the nominations for Best Animated Feature is the world’s first fully oil-painted feature film, Loving Vincent, a biographical drama about the mysterious Vincent van Gogh. While most reviewers say the narrative content is forgettable, they hail the film’s innovative production methods and visual achievement as nothing short of amazing. Funded by Kickstarter, a team of 125 classically trained artists from various countries painted 65,000 frames in the style of the Dutch master (many of the final canvas paintings were exhibited at the Noordbrabants Museum last year), and actors were cast who had a physical resemblance to van Gogh’s portrait subjects (e.g., Chris O’Dowd as Postman Roulin!). To view the paintings and learn more about the filmmaking process, visit LovingVincent.com, and see the trailer below.
VISUAL MEDITATION: “Behold the Broken, the Bruised” by Victoria Emily Jones: Speaking of van Gogh . . . Last week I wrote a reflection for ArtWay on the mixed-media sculpture After Van Gogh by Mad River Wiyot artist Rick Bartow (1946–2016). The primal wail of the figure expresses the artist’s psychological wounds, as a person with PTSD, and the communal wounds of his people, as well as invokes the famously troubled postimpressionist of its title. To me it also evokes Jesus’s cry of dereliction on the cross: “My God, my God, why hast thou forsaken me?”
Also, I’ve been writing Lenten art reflections for GiftofLent.org, one for each Monday of the season (through March 25). This week’s is on Kris Martin’s Altar, a steel replica of the Ghent Altarpiece framework, installed on a Belgian beach. Click on the link to read more.
In a recent interview, Bono issued a call to Christians for more authentic songwriting, for the “brutal honesty” before God that characterizes the book of Psalms. We need more realism in art and in life, he said; we need to be “porous.”
Andy Squyres delivers all this in his 2015 album Cherry Blossoms, which chronicles his journey through pain and loss after his friend was murdered by a home intruder. Tragedy destabilizes; it prompts questions regarding the nature of God and the viability of faith in the face of reality. But it also throws into high relief God’s promises—to love, to strengthen, to walk with, to bring through. Not immediately, but with time.
A necessary step to regaining stability after receiving a blow like the death of a loved one is to spend time sitting in the darkness of the why, and that’s exactly what many of the tracks on Cherry Blossoms allow us to do: grieve, question, wrestle hard for a blessing until daybreak.
My favorite song is “What Nobody Should Know”:
While all the others focus on personal pain, this one shows what it looks like to suffer in community. (The murder victim was a fellow church member.) Here’s an excerpt:
We were in a church but we were shouting Mourning our loss but not our doubting Wondering why love is allowing All of us to hit the floor Down here is one of the strangest places Nothing but hearts and dirty faces Maybe this is where amazing grace is God knows we need some more
Squyres’s lyrics are very evocative, sensory.
In “The Pestle and the Mortar,” he writes that his sweet illusions were crushed like spice pods—turned to dust—by the pestle of affliction. The implication is that suffering, by virtue of its pounding, releases in us an aroma and preps us to be used in delicious ways.
In “Labor in Vain,” he references John Henry, the steel driver of African American folklore, and considers the field as a metaphor for life, in that we often have to cut through hard ground. It’s laborious work, and it requires perseverance. But the yield is grain and grapes—that is, fuller communion with the body and blood of Christ (his people, his suffering).
Cherry Blossoms gives voice to other frustrations as well, like economic injustice. In “The Hawk and the Crow,” Squyres grapples with feelings of hatred toward the inconsiderate wealthy whose lack of care oppresses. I’m really intrigued by the line “mercy is the burden of the poor.” When I asked Squyres if he could unpack it a little for me, this is what he said:
It is the idea that those who are marginalized (the poor, the rejected, the outcast, etc.) are the most likely to be recipients of injustice and therefore have the most opportunity to forgive the oppressor, to heap mercy upon the one who has probably done great harm. Jesus doesn’t let the poor off the hook just because they’re poor. We have to show mercy too.
“Only love can give what vengeance cannot cure.”
There’s only one song on the album that’s not autobiographical, and that’s “Don’t Forget About Me When I’m Gone.” Squyres said he approached it as an exercise in songwriting and empathy: he wanted to tap into that feeling of separation we sometimes feel from our loved ones.
The album concludes with the titular “Cherry Blossoms,” a redemption song full of springtime imagery. Previously “bur[ied] . . . in a blanket of evening snow,” Squyres is now thawed out, warmed by a reassurance of God’s love. Here he is singing the song with his daughter Savannah McAffrey:
Stating his resolve to not give in to the forces of frustration and death, Squyres clings to hope and issues forth praise that is anything but cheap—it cost him blood and bone. It’s not that he’s arrived spiritually; rather, he has cycled through a season of life with God and has landed at a gracious new beginning. “Orientation-disorientation-reorientation” is how Walter Brueggemann schematizes this constant flow along which God’s children are always in transit.
Both bitter and sweet, Cherry Blossoms is for those whose equilibrium has ever been disrupted by a life event—and more than that, it’s for the church at large, because we are in desperate need of a language of suffering. Such a language is part of our heritage—i.e., the Psalms—and Squyres helps us reclaim it, letting us walk, and sing, with him through his own valley. Squyres shows that pain and praise are companions in the life of faith (the one need not be suppressed), and that Love is always there to be our breakthrough.
I really admire Squyres’s artistic sensibility, not only in regard to lyrics and composition but also extending to things like disc packaging. The album cover photo is striking. I asked him about its origin, and he had this to say about it:
I had seen a photo at an art exhibit at the Mint Museum in Charlotte of some kids in the 1930s standing on a street corner in Harlem. They were smoking cigarettes and looked like they had already seen their fair share of life and most of them were probably only young teenagers. When I saw that photo I just knew I wanted it for my album cover. We couldn’t get permission to use that one but we found the shoeshine boy. I love him because he looks world-weary yet determined. He’s probably got dreams, but he’s probably just gonna have to figure out a way to survive. That is the story of most of us.
He brings this sensibility to his job as worship pastor at Queen City Church in Charlotte, North Carolina, along with his life experience and heart of faith.
In a blog post dated October 15, 2012, Squyres wrote,
The season of your existence between the day you are born and the day you die is the only moment in the entire span of eternity from which you can love God in the midst of trouble, from the altar of pain. When you are finally out of the realm of time, loving God will be altogether glorious but equally obvious. You won’t be asking “why” this trouble. You won’t be reaching with hands of faith anymore. Faith will pass and you will be in the ecstasy of His presence. That’s why you must see this life, any affliction, any sorrow, any struggle as the most incredible gift that it is; this is your chance to love God from this place and in this moment. It will never again be. Every tear will be wiped away. So if now, you have a tear, then give it to God with all the imperfect love in your heart.
Cherry Blossoms is Squyres’s tear-offering—to God and to the church.
Entire Bifrost Arts catalog available for free download: For a limited time, the Christian music collective Bifrost Arts is offering all forty-eight of their songs for free download from NoiseTrade. Donations are welcome—100 percent of them will go to the Salt and Light Artist fund, which funds residencies for Christian artists in Arab countries, providing a platform for interaction with the local arts community.
Transforming a Protestant worship space into a Catholic one: The largest glass building in the world, the Crystal Cathedral in Orange County, California, has been undergoing renovations since having been sold in 2013 by the Reformed Church in America to the Roman Catholic Diocese of Orange. “Our charge is to convert an open, all-glass Evangelical church into a great Catholic cathedral to serve its centuries-old sacraments and ritual processions, and to reinforce the centrality of the Eucharist,” write architects Scott Johnson and Frank Clementi. This article published in Faith and Form describes some of the symbolic, aesthetic, environmental, and technical challenges of this project and includes renderings of the new space, which is scheduled to reopen next year.
Top 25 films on mercy: I’ve been enjoying these top 25 film lists put together by the Arts & Faith online community—especially how they reach beyond the obvious choices, dipping into the silent era as well as non-American cinema. Here’s their latest, a list of films that “show us visions of a world so often lacking in mercy, as well as worlds in which one merciful act alters the landscape of human experience forever.” Click here to view their other lists: road films, horror films, divine comedies, films on marriage, and films on memory.