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Loading Video . . . Aliki Barnstone's bold poem challenges the roles and portrayals of women in response to 2 Kings 9:30-37. 2 Kings 9:30-37 So That They Shall Not Say, This Is Jezebel By Aliki Barnstone Please note: this work contains strong language and some graphic violence. Credits: Curated by: Spark & Echo Arts 2016 Poetry Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link As the child of a Greek mother, all my life I heard the stories of the gods and goddesses and was captivated. When I discovered the work of H.D. as a young poet, I found a poetic expression of my own understanding of continuity of faith. I wrote the introduction and notes for the readers’ edition of H.D.’s Trilogy , and that work made me particularly conscious of the ways that the stories and iconography of the gods and goddesses prefigure, coincide with, and live on in the Judeo-Christian tradition. In the second section of the first book of Trilogy , “The Walls Do Not Fall,” H.D. reveals: …gods always face two-ways so let us search the old highways for the true-rune, the right-spell, recover old values nor listen if they shout out your beauty, Isis, Aset or Astarte is a harlot; you are retrogressive, zealot, hankering after old flesh-pots… In my research, I discovered that Jezebel was probably a priestess of Astarte (and Baal), and was struck again by these lines of H.D.’s about the feminine element, the goddesses becoming “flesh-pots” in patriarchal monotheism. The portrayal of Jezebel in the bible is consistent with the demonization and erasure of women and feminine godheads. Astarte’s divinity encompasses fertility, wisdom, health, magic, healing, death, rebirth, marriage, and more. She is associated with wisdom or Sophia. Her sacred symbol is the dove. She is thought to be Yahweh’s feminine aspect or Shekinah, which becomes the Holy Spirit in Christianity. Isis is the Hellenized form of “Aset” or “Astarte,” the goddess who prefigures the Virgin Mary. I call her the Mother God and use Isis’s name in my poem instead of Astarte’s because, as H.D. shows, the depictions of Isis suckling her son Horus carry forward in the Christian iconography of Mary and the baby Jesus. Another connection between the stories is that Jezebel’s son was murdered, as Christ was. Just as H.D. found solace in the feminine divine, so, too, did Emily Dickinson, as in the following poem: Sweet Mountains – Ye tell Me no lie – Never deny Me – Never fly – Those same unvarying Eyes Turn on Me – when I fail – or feign, Or take the Royal names in vain – Their far – slow – Violet Gaze – My Strong Madonnas – Cherish still – The Wayward Nun – beneath the Hill – Whose service – is to You – Her latest Worship – When the Day Fades from the Firmament away – To lift Her Brows on You – Dickinson frequently alludes to Greek mythology as a more gentle spirituality than the Calvinist Christianity of nineteenth century New England with which she was raised. Here is the poem in full that I quote in my poem: The Bible is antique volume Written by faded men At the suggestion of the Holy Spectres – Subjects – Bethlehem – Eden – the ancient Homestead – Satan – the brigadier – Judas – the great Defaulter – David – the Troubadour – Sin – a distinguished Precipice Others must resist – Boys that “believe” are very lonesome – Other boys are “lost” – Had but the tale a warbling Teller – All the boys would come – Orpheus’ sermon captivated – It did not condemn. I have been profoundly distressed about this election in which white supremacists are supporting a fascist with vulgar hate speech. The work I did for my edition of H.D.’s Trilogy heightens my awareness of the use and misuse of names, particularly the names of female deities. When politicians (not President Obama) and those in the media call the terrorist group ISIS, I, along with others, consider such an appellation misogynistic and racist, as offensive as if people called Daesh “MOSES” or “JESUS.” Since 2000, Isis has been in the top 1000 girl names. Girls and women named Isis are being objectified and bullied because of their name. Just as calling a woman “a Jezebel” is a way of demeaning her as a whore, a schemer, and evil, so too, now, the name of brown-skinned goddess of love and nurturance has been cruelly transformed into an epithet of hate and terror. (Since my poem deals with a woman and women, I’m mostly focusing here on iterations of misogynistic tropes against the feminine aspect of the divine and women in general, but this language extends to all kinds of bigotry.) As I’ve indicated, this hate worship has its roots, sadly, in the scriptures and in patriarchal interpretations. Jezebel is fully erased, so that women are socialized to believe that if they take power and if they speak out, they will be labeled “harlot” and will be punished, even in death, without the dignity of a burial. The mob calls for Secretary Clinton’s imprisonment and assassination. She has committed no crime except being a woman, who happens to be one of the most accomplished persons in the world, seeking the most powerful position on Earth. The hate speech directed at Clinton has its sources in the characterization of such outspoken and intelligent biblical women as Jezebel. The intent of these stories is to effectively terrorize girls and women into submission and silence, so I thought I’d tell a different story. I am a Christian (as Emily Dickinson and H.D. were in their own ways). Like Dickinson and H.D., I do not take the sum-total of the Judeo-Christian tradition to be a merely binary theology made up of good and evil, saved and damned, faithful and infidel. Instead, I share with my foremothers a more inclusive vision that venerates all expressions of the divine, including the wisdom, justice, kindness, peace, grace, and love in feminine divinity and power. Spark Notes The Artist's Reflection Aliki Barnstone , is a poet, translator, critic, editor, and visual artist. She is the author of eight books of poetry: The Real Tin Flower (Crowel-Collier, 1968), Windows in Providence (Curbstone, 1981), Madly in Love (Carnegie-Mellon, 1997), Wild With It (2002), Blue Earth (Iris Press, 2004), Dear God Dear, Dr. Heartbreak: New and Selected Poems (Sheep Meadow, 2009), Bright Body (White Pine, 2011), and Dwelling (Sheep Meadow, 2016). She translated The Collected Poems of C.P. Cavafy: A New Translation (W.W. Norton, 2006). Her first book of poems, The Real Tin Flower (Crowell-Collier, 1968), was published when she was 12 years old, with a forward by Anne Sexton. In 2014, Carnegie-Mellon University Press reissued her book, Madly in Love , as a Carnegie-Mellon Classic Contemporary. She has edited A Book of Women Poets from Antiquity to Now (Schocken, 1980; 2nd edition, 1992) and the Shambhala Anthology of Women’s Spiritual Poetry (Shambhala, 2002). Her literary critical work includes writing the introductions and readers’ notes for H.D.’s Trilogy , co-editing The Calvinist Roots of the Modern Era , and her study, Changing Rapture: The Development of Emily Dickinson’s Poetry (University Press of New England, 2007). With musician Frank Haney, she recorded a CD, Wild Wind . Her visual art has appeared in New Letters and Tiferet , and illustrates and is the cover art for Elizabeth Cohen’s Bird Light (St. Julian Press, 2016). Among her awards are a Senior Fulbright Fellowship in Greece, the Silver Pen Award from the Nevada Writers Hall of Fame, a Pennsylvania Council on the Arts Literature Fellowship in Poetry, and a residency at the Anderson Center at Tower View. She is Professor of English and Creative Writing at the University of Missouri and serves as poet laureate of Missouri. Website Aliki Barnstone About the Artist Aliki Barnstone Other Works By Related Information View More Art Make More Art The one who tells the story has power to erase a story, a nation, a faith “so that they shall not say, This is Jezebel, ”Phoenician princess who became Queen of Israel. View Full Written Work So That They Shall Not Say, This Is Jezebel by Aliki Barnstone 1 The one who tells the story has power to erase a story, a nation, a faith, “so that they shall not say, This is Jezebel,” Phoenician princess who became Queen of Israel. So that a woman shall not speak, a woman shall not have power to tell the story. 2 Emily Dickinson wrote “The Bible is an antique Volume Written by faded men.” Skilled at the artful smear such men make a Queen faithful to her own a harlot, a fleshpot, a despot. 3 He looms behind her as she speaks, taunts her for daring to lead. 4 The King of Greed rants she is pushy, brags he grabs pussy, rapes a child, lies every 196 seconds, fact-checkers reckon. 5 The teachings say she was a dominating wife, with “force of intellect and will,” and none of the “nobler feminine qualities” of selflessness. 6 Faded men with faded skin, evolved from migrating North, away from sunlight and warmth, away from the Mother God brown-skinned Isis, whose name they disgrace, make a terror curse— Isis, friend of slaves and artisans, icon of the icon of Mother and Child. 7 After her son was murdered, knowing she, too, would be killed, Queen Jezebel dressed, arranged her hair, and lined her eyes with kohl, prepared herself for the grave where she would never be lain. Her last question: “Does he have peace, who slays his Lord?” 8 His answer: “Throw her down!” Pushed out the high window, adorned in a gold embroidered and tasseled hyacinth gown, her blood splashed on her palace wall and on her assassins’ horses. “He trode her under foot” till he was king and he left his Queen’s corpse to be eaten by dogs, except the skull, feet, and palms. 9 “And her carcass shall be as dung on the field… so that they shall not say, This is Jezebel,” write the faded men who deem their story the Word of the Lord. Close Loading Video . . . The one who tells the story has power to erase a story, a nation, a faith “so that they shall not say, This is Jezebel, ”Phoenician princess who became Queen of Israel. Download Full Written Work

Loading Video . . . I am sharing a working in progress video that shows my process of playing and pondering with some of the material we have been experimenting with over the past two months. I am not sure things are going in the direction I was expecting. That is part of the fun of it, I suppose. Being surprised by what is revealed. Find the complete progression of the work linked below. Ecclesiastes 1:8-18 Ecclesiastes 2:17-26 Ecclesiastes 3:11 Ecclesiastes 6:7-12 Ecclesiastes 8:6-17 Artist in Residence 2016: Stephanie Miracle Part 2 By Stephanie Miracle Credits: Photo taken by Jimmy Miracle Curated by: Spark+Echo Arts, Artist in Residence 2016 2016 Dance Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link June 27, 2016 I am sharing a working in progress video that shows my process of playing and pondering with some of the material we have been experimenting with over the past two months. I am not sure things are going in the direction I was expecting. That is part of the fun of it, I suppose. Being surprised by what is revealed. I am also including a picture from this project. It is a documentation of a live performance. The man on the right hand side of the photo, a dear friend and supporter of my work, died unexpectedly just two weeks ago. This tragic event plunged me much deeper into Ecclesiastics. In my wild tumbling through questions of life and death I feel comforted by the text. (Photo taken by Jimmy Miracle) Spark Notes The Artist's Reflection Stephanie Miracle is an American born independent choreographer and performer currently based in Essen, Germany with her husband visual artist Jimmy Miracle. She earned her MFA in Dance at the University of Maryland and a BA in Dance from Belhaven University. She is also a teacher of Klein Technique™ and holds prestigious honor of being a 2014/15 German Fulbright Fellow in the Performing Arts. In 2015 she joined as a full-time dancer with the Folkwang Tanzstudio/FTS. In addition to performing with the company she often works in collaboration with Henrietta Horn (DE), Carla Jordao (PT), Ana Farfan (MX), Paola Ponti, (IT) and Anna Shchkleina (RU). She is the director of Fakers Club, a site-specific performance experiment based on film and serial television. Stephanie's choreography has been described as “iconic and nuanced…with an irreverence that makes you smile unconsciously”(Rick Westerkamp, 2014). Often in vivid technicolor, Miracle’s works are crafted with a cinematic sensibility and follow subtle narrative threads. In addition to creating choreographies for traditional proscenium theaters her unique aesthetic finds special significance in common spaces for example, parking lots, bus stops, woman's prisons, hallways, staircases, and rooftops. in Germany, Hungary, Mexico, Russia, New York City, and Washington DC by various institutions including MetLife Foundation, Exchange Festival, Dance Place, Supernoval Festival, Open Look Festival, Performatica, Belhaven University, ES WIRD SOGAR SCHÖN, Barnes Crossing, The Clarice Smith Performing Arts Center. Other awards include the Smith Scholarship Grant to attend ImPulsTanz in 2012, dance artist-in-residence at OMI International Residency 2012, DC Innovation grant in 2013, Bates Dance Festival Merit Scholarship 2013, Goldhaber Travel Scholarship 2014, and NextNOW new work grant 2014. Her collaborative piece “Drafting Plan” was awarded Best Duo at Barnes Crossing Festival 2015 in Cologne and at the 2016 SzoloDuo Festival in Budapest. She is honored to be a 2016 Artist in Residence at Spark and Echo Arts. Website Stephanie Miracle About the Artist Artist in Residence 2016: Stephanie Miracle Part 1 Artist in Residence 2016: Stephanie Miracle Part 3 Treasure Heart Artist in Residence 2016: Stephanie Miracle Stephanie Miracle Other Works By Follow the developmental journey of Stephanie's project by reading her first , third and final post as a 2016 Artist in Residence. All things are wearisome, more than one can say. The eye never has enough of seeing, nor the ear its fill of hearing. What has been will be again, what has been done will be done again; there is nothing new under the sun. (Ecclesiastes 1:8-9) He has made everything beautiful in its time. (Ecclesiastes 3:11) Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . Kicking off the 2014 year with the theme of "Light and Darkness," choreographer Anna Hillengas Troester presents a dance piece in response to 2 Corinthians 4:16-18. 2 Corinthians 4:16-18 what flickers will yet remain By Anna Hillengas Troester Credits: Created and Choreographed by Anna Hillengas Troester Dancers: Brittany Testone, Emily SoRelle Adams Videography by Nathan Troester Music by Zoe Hillengas (original composition), Josh Garrels (“Words Remain”) Curated by: Emily SoRelle Adams 2013 Dance Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link This passage from 2 Corinthians fascinates me, especially the juxtaposition of the reality that we experience in our daily lives, and the reality that lies beneath those circumstances. For me, the verses present a perpetual tension between the temporal and the eternal, deterioration and regeneration, frustration and hope. That our lives comprise all of these facets simultaneously overwhelms me, but this scripture is also a comfort. It echoes our difficulties, while assuring us of the infallible hope that remains. "what flickers will yet remains" is a meditation on the fluidity of struggle, rest, stability, change, the everyday and the imagined. The work also explores the collaboration of dance, music and film perspectives. It could not have been made in its present form without the contributions of videographer, musicians and dancers, to whom I am very grateful. Spark Notes The Artist's Reflection Anna Hillengas Troester was born in Kingston, Jamaica and raised in the Philadelphia area where she began her dance training with Gwendolyn Bye. She moved to New York City to attend Barnard College, where she earned a B.A. in Urban Studies. She later earned an M.F.A. in Dance at Tisch School of the Arts, New York University, where she worked with choreographers Deborah Jowitt, Sean Curran and Cherylyn Lavagnino, as well as creating her own work. As a dancer, Anna has also performed with Errol Grimes Dance Group, Nicholas Andre Dance, Redshift Dance, Lori Belilove & Co., and Mary Seidman and Dancers. As a choreographer, Anna’s work has been presented at DanceNow’s RAW Festival, Amalgamate Artists’ Series, WAXworks Series at Triskelion Arts, and Green Space Blooms, among other venues. Anna is also a Certified Pilates Teacher and Instructor-Trainer (Pilates Academy International), as well as a Certified Yoga Teacher (Mind Body Dancer, Hatha Vinyasa Style). Anna teaches on faculty in the Dance Department of Hofstra University. She explores multi-media collaborations of dance, music and film through her choreographic projects, and she continually strives to bring movement, wellness and the arts to a wider population. Website Anna Hillengas Troester About the Artist Anna Hillengas Troester Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Nicora Gangi 2013 AIR 3 Dance Loading Video . . . Resident Artist Nicora Gangi's third work for 2013 deals with the theme of "Dancing" and responds to Psalm 149 as part of a collection inspired by each of the six themes for the year. Psalms 149 Dance By Nicora Gangi Credits: Curated by: Spark+Echo Arts, 2013 Artist in Residence 2013 11 x 14 inches Paper Collage on Strathmore Paper & Adobe Photoshop Mixed Media Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Who are called upon to praise God? The children of Israel! They are nearer to God than other Israelites, those who have the word and ordinances of God. We give honor to God when we take pleasure in Him. We should sing new songs: newly composed upon every special occasion. Singing them with a new affection. Making the song new though the words have been used before. Keeping them growing threadbare. Those who are so musically employed in religious worship must, by the same rule, introduce dancing; for they went together as in David's dancing before the ark. The righteous shall be beautified in that day when they shine forth as the sun. In the hopes of this let them now, in the darkest day, sing a new song and dance with a new heart to Our God and Our King. Spark Notes The Artist's Reflection Nicora Gangi was educated at Syracuse University, Syracuse, New York, USA (BFA 1974 and MFA 1976). She was a Professor of Art at Syracuse University for 29 years. Gangi has been awarded many Grand Prize and First Place awards and grants. She has been and continues to be published in numerous artist’s books on pastel paintings. She has lectured regionally and nationally as a visiting artist at universities and artist’s guilds. She is represented by: Edgewood Gallery (Syracuse, NY), and Gangi Studio (Winter Garden, FL ). Website Nicora Gangi About the Artist The Mountain of the House of The Lord I See Him but Not Now So Shall Your Descendants Be This One The Body without the Spirit | 1 The Body without the Spirit | 2 The Body without the Spirit | 3 The Sealed Ones Peace with God The Everlasting Protective Love of God Our Father When the Lord Gives Us The Land I See Him but Not Now The Mountain of the House of The Lord Paneled and Ruins Series The Harvest Spirit of God-The Spirit Hovering Memories Lies Fool Your Truth from the Great Congregation Psalm 18 Sound of Their Wings Psalm 16 Kiss the Son EAST, WEST, NORTH & SOUTH AT HIS TABLE Nicora Gangi Other Works By Visual artist Nicora Gangi created a collection of mixed media works in response to scripture and the six themes of the year as a 2013 Artist in Residence. Explore her works created throughout the year: Spirit of God – The Spirit Hovering Light and Darkness (February 4, 2013) Fool Fools (April 13, 2013) Dance (This piece) Dancing (June 13, 2013) Lies Lies (August 22, 2013) The Harvest Harvest (October 17, 2013) Memories Memory (December 12, 2013) Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

LAURIE LEA, SACRED LIGHT (DETAIL 1) LAURIE LEA, SACRED LIGHT (DETAIL 2) LAURIE LEA, SACRED LIGHT (DETAIL 3) LAURIE LEA, SACRED LIGHT (DETAIL 4) LAURIE LEA, SACRED LIGHT (DETAIL 5) LAURIE LEA, SACRED LIGHT (DETAIL 6) LAURIE LEA, SACRED LIGHT (DETAIL 7) LAURIE LEA, SACRED LIGHT (DETAIL 8) Loading Video . . . Sculptural Artist Laurie Lea has created an impressive, large suspended glass fixture that explores the play between light and form in response to several passages of Scripture. Isaiah 61:1 Judges 7:20 Isaiah 9:2 1 Corinthians 11:24 Isaiah 30:26 Mark 14:3 Isaiah 60:19-20 Exodus 13:21 Psalms 104:2 2 Corinthians 4:6-7 Sacred Light By Laurie Lea Credits: Curated by: Michael Markham 2019 9' x 15" Glass, Resin, LED Lighting, Monofilament Sculpture Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link For many years my sculpture has explored the relationship between light and form: how light affects form and form affects light, primarily in visual, psychological and symbolic ways. My forms originated with the single human form and slowly evolved over time into simple geometric shapes of circles, spheres and cylinders representing the human condition. The light comes from artificial sources and represents God and the invisible reality underlying appearance. The interaction of light and form gives me a way of examining human existence both in the physical dimension of observable phenomena and in the spiritual (invisible, intangible) dimension. Broken and translucent materials such as glass cover but do not obscure the light, referring to states of fragility, fragmentation, transformation, and redemption. SACRED LIGHT comprises a body of work consisting of long cylindrical transparent forms covered by broken glass and illuminated from within by white light (LED). Cast from tree forms, these forms are suspended by monofilament so that they slowly move and turn, casting reflections on walls, ceiling and surrounding space. The fusion of broken forms and light is a visual metaphor for hope and redemption. The theme of how our brokenness alliterates and even hides the light of the Father is found throughout the scriptures, even though it leaves with the hope of a light to be captured. From Gideon's pitchers breaking to reveal light, to Mary's alabaster box shattered as a memorial for Christ's death, to the very Eucharist itself, the broken bread and body of Christ, we stare at glimpses of the eternal light we were supposed to reflect. Jesus proclaimed Himself the "Light of the world." The gospel of John says "the Light shines in the darkness and the darkness cannot extinguish it;" Isaiah speaks of this Light shining in the darkness and His glory rising on us. Thus, this fusion of light and broken forms is meant to be a picture of Christ in us, the Hope of glory, in both our human frames and in this dark and broken world. Spark Notes The Artist's Reflection Laurie Lea is a New York-based visual artist exploring the integration of light and form (matter) through the media of sculpture, installation and poured works. Her interest in science and the nature of reality has guided her investigation of the intersection of the physical, visible dimension of observable phenomena with the invisible, intangible dimension of quantum physics. In addition to sculpture and poured works, she is creating light-forms to place on the coast of different countries where land meets water and day meets night. She is developing a language of light to express her ideas. Lea has presented work in galleries, museums and alternative venues in the US and countries around the globe: Canada, Mexico, Sweden, Japan, Africa and Europe. She initiated and wrote the original Public Arts Ordinance for Atlanta, Ga when serving on the city's Fulton County Arts Council. She is recipient of numerous awards, grants and residencies which include the Georgia Arts Council Purchase Award, grants from The Brooklyn Arts Council; Artists Grants/Artists Space; the New York Council on the Arts; Southern Arts, England and the Arts Council of Great Britain. During her time in England she was awarded a one-person exhibition and Artist Residency at the Russell-Cotes Art Gallery & Museum, Bournemouth, England. She also won a commission for a sculpture installation at the Walsall Museum & Art Gallery in Walsall, England. She was keynote speaker at the International Symposium of Art and Light at the University of the Creative Arts in Farnham, England. Recently, Lea has been awarded Artists Residencies in Greece and New York City. She has received the Gottlieb Foundation Individual Art Support Grant and was awarded the Professional Artist in Residency at the Pilchuck School of Glass near Seattle, WA. She is a McDowell Colony Fellow and currently Artist in Residence at the YWCA Brooklyn, in Brooklyn, NY. Website Laurie Lea About the Artist Laurie Lea Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . For the third part, we really are trying to capture how scientism is really a sort of magical thinking and how religion — how ontological philosophy — is more causally bound. Find the complete progression of the work linked below. Galatians 4:21-5:1 Artist in Residence 2019: Lancelot Schaubert - Part 3 By Lancelot Schaubert These stories contain strong language and may not be suitable for all audiences. Credits: Curated by: Spark & Echo Arts, Artist in Residence 2019 2019 Fantasy Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link October 7, 2019 For the third part, we really are trying to capture how scientism is really a sort of magical thinking and how religion — how ontological philosophy — is more causally bound. We’re getting at the nature of magic and how, if it’s real, it’s something more like prayer and less like voodoo, more like hope and imagination and less like the sort of snake oil we see in Silicon Valley. All in the same milieu with a bit of discovery of the continuing backstory. Spark Notes The Artist's Reflection Lancelot has sold work to The New Haven Review (The Institute Library), The Anglican Theological Review, TOR (MacMillan), McSweeney's, The Poet's Market, Writer's Digest, and many, many similar markets. (His favorite, a rather risqué piece, illuminated bankroll management by prison inmates in the World Series Edition of Poker Pro). Publisher's Weekly called his debut novel BELL HAMMERS "a hoot." He has lectured on these at academic conferences, graduate classes, and nerd conventions in Nashville, Portland, Baltimore, Tarrytown, NYC, Joplin, and elsewhere. The Missouri Tourism Bureau, WRKR, Flying Treasure, 9art, The Brooklyn Film Festival, NYC Indie Film Fest, Spiva Center for the Arts, The Institute of the North in Alaska, and the Chicago Museum of Photography have all worked with him as a film producer and director in various capacities. Website Lancelot Schaubert About the Artist Artist in Residence 2019: Lancelot Schaubert - Part 2 Artist in Residence 2019: Lancelot Schaubert - Part 1 Posh Girls As Waters Cover Artist in Residence 2019: Lancelot Schaubert Dragonsmaw Daily | 1 Dragonsmaw Daily | 2 Dragonsmaw Daily | 3 Watchtower Stripped to the Bonemeal Metaphysical Insurance Claim 0075A: The Delphic Oracle Philadelphia Bloodlines Lancelot Schaubert Other Works By You can read his prior short stories (and chapters within his overarching story) in his first , second and final phases. Related Information View More Art Make More Art "Toss the Spell for Prayer" View Full Written Work Close Loading Video . . . "Toss the Spell for Prayer" Download Full Written Work

Elias-Popa_AIR2_Model-detail-4-resized.jpg Loading Video . . . Elias Beaumont updates us on the development of his project as his plans and designs start to become physical. Find the complete progression of the work linked below. Job 38 Job 39 Job 40 Job 41 Artist in Residence 2018: Elias Popa Part 2 By Elias Popa Credits: Curated by: Spark & Echo Arts, Artist in Residence 2018 2018 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link June 4, 2018 In creating “Reckoning and Attaining,” the minimalist form of the installation is impregnated with mystery through its interaction with natural elements. The form itself is camouflaged in its environment. Mirrored on all sides, it reflects its outer environment thus rendering it as a part of the scape surrounding it. The light that passes through the opening creates a corridor of light, gently beckoning one to enter through its awkward, tight opening. It is through this uncomfortable space that the transformation is set: the questioning of Job via the terror and mystery of God leading to the reward of the endless universe and all that is in it. This sculpture leans on the irony that restriction of elements, body, and matter actually free our minds and souls to deep understanding and relationship, and thus a peaceful space. Although I’ve had a good amount of time to reflect on the purpose of a sculpture as an installation artist, it can be difficult to sometimes realize the physical manifestation of the things I dream of. In preparing for this project, I built a model to test the light and shadow as it cuts through the openings of the sculpture and into the centre of it. It wasn’t until I saw this materialized model that I felt a certain excitement begin to swell up within me. The tactile model allowed me to understand better the play of light through the narrow opening in the side, and the thin strip of light passing through shadow. I imagined myself curious to walk through. Although the scripture in Job I selected is complex, grand, and even terrible in its depiction of the mysteries and power of God, my particular focus is towards the small, sweet, whisper that comes after the sacrifice of one’s life. It is like a narrow gate—a tight opening. Currently, I have selected materials such as the frame and turf that will be used to create the field. I have already employed one builder to assist me in building the sculpture. I am sourcing the mirrors from a construction supply company that works in large scale wall installations. My hope and prayer is that there is a venue in Hell’s Kitchen who will approve the building of the sculpture on their roof. In the next two weeks, I hope we will have a secured space allowing building to start in about two months. Build time is expected take roughly one week. As always, when embarking on installation projects, the vision at the beginning changes as needs and hurdles come up. For example, in the original computer rendering, the entrance to the sculpture wrapped around one wall to create a thin corridor. In creating the material model, however, I found that keeping one wall slightly shorter created a simpler design that was more intuitive to enter. Spark Notes The Artist's Reflection Elias Popa was born April 7, 1987 to Romanian immigrants in California. After traveling between his home in Romania and throughout the United States, he continued his travels into his adulthood by moving to China, traveling Southeast Asia, South America and working with refugees. During his travels around the world, his worldview in art was deeply impacted. “My art expresses the struggle of identity and hope, worship and expressions of life. It explores common world views and challenges them. My work shines a light on the temporal solutions we put in place to replace what we really need deep inside”. As an installation artist, Elias uses conventional materials such as paper, wire, thread, and clothing to evoke a deeper understanding about social structures. His aim is to solidify abstract ideas about the nuances that make up sociological structures. By doing so, he retrains the eye to build a visual literacy again and treats the art as a fundamental language. He also studied dark room photography for 10 years, as well as writes poetry. Through his art, Elias started The Human Rights Network, a non for profit organization aimed at “telling stories that change lives.” The organization aims to build narratives through art that can impact social issues and generate activism. He currently works as a curator and manager of the esteemed Waterfall Mansion and Gallery on the Upper East Side, as well as the founder of the Human Rights Network. He resides on the Upper West Side of Manhattan where he works out of his home. He was the recipient of CFW’s artist vocational intensive, held at Princeton University. He also was selected on an Interfaith and Arts Panel at Columbia University, as well as regular participates in speaking engagements. Website Elias Popa About the Artist Artist in Residence 2018: Elias Popa Part 1 Artist in Residence 2018: Elias Popa Part 3 Artist in Residence 2018: Elias Popa The Art of Kintsugi and Sacrifices in Sidewalks Elias Popa Other Works By Follow the development of Elias' project by reading his first , third and final posts written as 2018 Artist in Residence. Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . Authors Lancelot Schaubert and Alexander Sirkman reimagine the story of the resurrection of Jesus in their short-story that responds to Luke 24:10. Luke 24:10 Metaphysical Insurance Claim 0075A: The Delphic Oracle By Lancelot Schaubert Credits: Co-Author: Alexander Sirkman Illumination Representation Image by Lancelot Shaubert with Ai on Midjourney Curated by: Rebecca Testrake 2023 Short Story Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link These three pieces work in tandem. They're meant as a running commentary on (1) the sorts of people who are close to us who reject the work of the miraculous in our lives and through our lives, (2) the kinds of silly exegetical traditions that exist as little more than a prop for church splits, (3) the metaphysical absurdity of the miraculous as the miraculous, when it happens, (4) a call to see James as a miracle worker in his own right, a cousin, and someone who would have been as baffled as anyone else — though joyful — in the presence of the miraculous. Sometimes the "sons of Thunder" stuff becomes such a focus, I wanted to focus on something else for St. James. To see the other pieces from Lancelot, click the links below: Bloodlines Philadelphia Spark Notes The Artist's Reflection Lancelot has sold work to The New Haven Review (The Institute Library), The Anglican Theological Review, TOR (MacMillan), McSweeney's, The Poet's Market, Writer's Digest, and many, many similar markets. (His favorite, a rather risqué piece, illuminated bankroll management by prison inmates in the World Series Edition of Poker Pro). Publisher's Weekly called his debut novel BELL HAMMERS "a hoot." He has lectured on these at academic conferences, graduate classes, and nerd conventions in Nashville, Portland, Baltimore, Tarrytown, NYC, Joplin, and elsewhere. The Missouri Tourism Bureau, WRKR, Flying Treasure, 9art, The Brooklyn Film Festival, NYC Indie Film Fest, Spiva Center for the Arts, The Institute of the North in Alaska, and the Chicago Museum of Photography have all worked with him as a film producer and director in various capacities. Website Lancelot Schaubert About the Artist Artist in Residence 2019: Lancelot Schaubert - Part 3 Artist in Residence 2019: Lancelot Schaubert - Part 2 Artist in Residence 2019: Lancelot Schaubert - Part 1 Posh Girls As Waters Cover Artist in Residence 2019: Lancelot Schaubert Dragonsmaw Daily | 1 Dragonsmaw Daily | 2 Dragonsmaw Daily | 3 Watchtower Stripped to the Bonemeal Philadelphia Bloodlines Lancelot Schaubert Other Works By Related Information View More Art Make More Art Every year prior to the year in question, the city-state of Oracle Hill had a birth rate of 0 due to a populace of monks and nuns View Full Written Work Close Loading Video . . . Every year prior to the year in question, the city-state of Oracle Hill had a birth rate of 0 due to a populace of monks and nuns Download Full Written Work

Loading Video . . . Responding to the theme of "Harvest" from Revelation 19:9, Meaghan Ritchey organized and designed this work to be a communal dining and sensory experience with exquisite food and wine, handmade goods, and incorporating spatial choreography. Revelation 19:9 Supper By Meaghan Ritchey Credits: Food Sourcing and Preparation by The Pixie and the Scout Paper Goods, Illustrated and Printed by The Hungry Fox Tablescape Design by Pilot Projects Curated by: Jeffrey Leiser 2013 A communal dining and sensory experience Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link "Supper" was designed to be a communal dining and sensory experience with exquisite food and wine, handmade goods, and incorporating spatial choreography. In a small passage in Robert Farrar Capon's book, The Supper of the Lamb, he describes necessities of the proper slicing of an onion. The process involves taking a seat at the kitchen table rather than standing at the counter for a good hour is meant to be spent in the company of the onion. "Supper" be not be 'a mere trip to the trough.' It illustrates the importance of the relationship between objects in meeting with each other -- occupying a space in time with their being. The Pixie and the Scout , a network of growers and producers formed over years of sourcing and cooking in the North Atlantic region provided the sourcing and preparation for "Supper." The custom menu offered a celebration of time-honored techniques from some of New York's finest kitchens; an aesthetic expression composed of simple, exquisite details and a commitment to cooking and eating toward the future of food. The architectural experience was designed by Pilot Projects Design Collective of NYC. Custom dinner troughs invited participants into a unique food-sharing experience incorporating elements of light, structure and choreography. Spark Notes The Artist's Reflection In 2005, Meaghan Ritchey moved to NYC to earn her BA in Politics, Philosophy, and Economics from The King’s College. Born in the West Texas town of El Paso, and currently residing in the South Bronx neighborhood of Mott Haven, she loves identifying regional distinctives and local flavor in her writing. She shares a brownstone with seven friends and spends much of her free time on a bicycle. Meaghan is the Managing Editor of The Curator and Director of International Arts Movement. Website Meaghan Ritchey About the Artist Meaghan Ritchey Other Works By The menu items were hand-crafted and sourced by The Pixie and the Scout , paper goods were illustrated and printed by The Hungry Fox , and a sophisticated tablescape trough was designed by Pilot Projects . Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . Composer Jonathon Roberts weaves together some of Apostle Paul's famous verses on love as part of a theatrical response to the life of Apostle Paul. 1 Corinthians 12:31-13:7 Ephesians 4:16 Romans 10:15 Isaiah 52:7 Romans 8:22 Philippians 2:15 How Beautiful By Jonathon Roberts Credits: Vocals by Jonathon Roberts Saxophone Quartet: Chris Clouthier, Allison Davis, Mark Determan, Kim Reece Artist Location: Wisconsin Curated by: Spark+Echo Arts 2005 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link This work for voice and saxophone quartet is a key moment in the theatrical production of Project Paul , a response to the life and writings of the Apostle Paul. It weaves together several of Paul's fascinating concepts, "How beautiful are the feet of those that bring good news" (from Isaiah, but quoted by Paul in Romans), "every supporting ligament grows and builds itself up in love" from Ephesians, Paul's most famous expression of love from 1 Corinthians 13, and several more. Spark Notes The Artist's Reflection J onathon Roberts is a composer and sound designer for games, film, theatre, and ensembles. His style grew out of classical and jazz training, and evolved through quality life adventures: touring the country in an RV with a one person theater piece on the Apostle Paul, living in Brooklyn with an improv music ensemble, performing in a downtown NYC absurdist comedy band, and a long stint writing music for the renowned slot machine company, High 5 Games. He has released four albums including the latest, Cities a song cycle personifying biblical cities. He created the popular podcast/web series ComposerDad Vs. Bible , in which ComposerDad accepts intense compositional challenges from a mysterious Bible while out with his kids. He frequently collaborates on music and theater projects with his wife, actor Emily Clare Zempel. They live in Beacon, NY, with their two boys and a tangled box of electrical cords. www.jonathonroberts.com Website Jonathon Roberts About the Artist Loving Arms I Make Tents The Sower Response There Is Room These are My Sons Consider Me a Partner Weakness The Day Is Almost Here Surrogate Babbler Remember Me Prayer I Am a Fool The Constant Ecclesiastes Cows Blessing Fools for Christ More Than Rubies Only a Few Years Will Pass Dear Friend Jonathon Roberts Other Works By VIEW SCORE for Voice and Saxophone Quartet How Beautiful Lyrics and references How beautiful are your feet my love. How beautiful. How beautiful. How beautiful are the feet of those who bring good news. (Romans 10:15, Isaiah 52:7) And now I will show you the most excellent way. (1 Corinthians 12:31) If I speak in the tongues of men and of angels, but have not love, I am only a resounding gong or clanging cymbal. If I can fathom all mysteries, if I have a faith that can move mountains, but have not love, I am nothing. If I surrender my body to the flames, but have not love, I gain nothing, nothing. Love is not self-seeking. Love is not self-seeking. The whole creation is groaning (Romans 8:22), Love is not self-seeking. In love, every supporting ligament. Every supporting ligament grows and builds itself up in love Every supporting ligament. I know your every supporting ligament. (Ephesians 4:16) And I know you shine like a star in the universe. (Philippians 2:15) And I know that darkness best draws men to the light. And I know that you are the lovely seal upon my heart. (Song of Songs 8:6) Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . Guitarist and composer Mark Lettieri's "Spark and Echo" explores God's role as the one true judge of man. This work is in response to James 4:12 and the theme of "Destruction." James 4:12 Spark and Echo By Mark Lettieri Credits: Curated by: Mark Lettieri 2014 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link James 4:12 states, “There is only one lawgiver and judge, the one who is able to save and destroy. But you – who are you to judge your neighbor?” (NIV). I came across this verse while researching the biblical theme of destruction. I had planned on composing a piece about the literal destruction of something physical. I wanted the song to be dark and maybe even violent (which led me to Revelations first, of course). But when I found this verse, I ended up writing a song about destroying something emotional; ultimately a song about love. What I took from this verse is this: without God, we’re constantly tempted to judge and chastise others, as if we’ve always lived a life free of sin ourselves. This song is about the idea that as Christians, we must destroy that desire to judge, and replace it with a showing of His love instead. The heavy layered rhythm guitars, drums and strings represent the tearing down of this judgmental attitude, with the bright melody representing a reconstructed view built on love and respect. Spark Notes The Artist's Reflection Mark Lettieri is a guitarist, composer and producer based in Fort Worth, TX. Proficient in a multitude of styles, he records and performs in virtually every genre of popular music with both independent and major-label artists. He also composes and produces original instrumental music under his own name. Born in the San Francisco Bay Area, Lettieri came to Texas via Texas Christian University (TCU), studying advertising and public relations, and competing in track and field. A passionate guitarist since middle school, he began his music career in the Dallas/Fort Worth Metroplex area upon graduating from TCU. Playing in the vibrant Metroplex gospel and R&B scene led Lettieri to join jazz/world group Snarky Puppy in 2008. The now two-time GRAMMY Award-winning band tours and records constantly, having performed on all continents except Antarctica. Aside from Snarky Puppy, Lettieri has spent time on the road with neo-soul icon Erykah Badu, gospel singer/actress Tamela Mann, and American Idol: Season 11 winner Phillip Phillips. He’s also performed with a myriad of other artists, including Anthony Evans, Chrisette Michele, Myron Butler, N’dambi, Bilal, and even Pat Boone. An in-demand session guitarist, recent work includes David Crosby, 50 Cent, Snoop Dogg, Eminem, Adam Levine, Kirk Franklin, Fred Hammond, Lalah Hathaway, Eric Roberson, Lecrae, Lupe Fiasco, Keyshia Cole, Xzibit, as well as numerous radio and television jingles. Lettieri is also a member of Team SKP, a production collective led by GRAMMY Award-winning producer Symbolyc One (Kanye West, Beyonce). Since 2010, he has been a member of the house band for the Marcus & Joni Show, a morning talk/variety show broadcast in 200 countries on Daystar, a Christian cable network. As a composer/bandleader, Lettieri has released three albums, Knows in 2011, Futurefun in 2013, and most recently, Spark and Echo in 2016 (Ropeadope Records). Through tours with Snarky Puppy and social media network shares, these records have created a sizable buzz among fans of instrumental music worldwide. He performs frequently in a trio setting featuring a revolving rhythm section of world-class Dallas musicians, and has begun touring this music in the U.S. and Europe. www.marklettieri.com Website Mark Lettieri About the Artist Mark Lettieri Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . In this final post, completing a poetry collection responding to every theme from the year, 2013 Artist in Residence Emily Ruth Hazel brings us a beautiful poem in reflection of the theme of "Memory" and Jonah 2:5-7 as a 2013 Spark+Echo Artist in Residence. Jonah 2:5-7 Undressing Prayer By Emily Ruth Hazel Credits: Photo Credit: Justin T. Shockley Curated by: Spark+Echo Arts, 2013 Artist in Residence 2013 Poetry/Spoken Word Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link It's been a privilege to journey through 2013 with Spark and Echo Arts, responding to each of this year's six themes as a Resident Artist. For this last piece on Memory, I was inspired by the biblical story of Jonah: specifically, his prayer from inside the whale that swallowed him (and became the vehicle of a second chance to fulfill his calling). I drew from my own memories as well—my experiences as an editor and as a college student before that, as someone on a continual quest for quiet who likes sitting in empty churches, and as a New Yorker fascinated by the daily mix of clothing styles worn by people from all walks of life. I'm interested in how what we wear reveals something about who we are, and in how frequently we connect with people (or don't) on that basis. Likewise, I wanted to explore how dressing God "in our own [human] image" can lead us to dangerously inaccurate perceptions of human/divine relationships, and on the flip side, how humanizing God can give us fresh perspectives that bring the spiritual within reach. (Of course, that kind of exploration requires acknowledging the gap—or chasm—between our limited understanding and who God actually is.) One of the images that came to me is from the publishing world. Back when editors' offices had narrow windows over the doors (often left open for air), writers sometimes submitted unsolicited manuscripts by tossing them "over the transom"—hence the phrase still used today. I've heard of a similar practice among musicians and would-be DJs eager for airtime on college radio stations. Artistically and spiritually, I can identify with the hopefuls looking to break in. As I was thinking about ways in and ways of reframing tradition, I was reminded of my occasional encounters with the Book of Common Prayer, which is used in Anglican church services. I also recalled a term I hadn't heard of until recently: Ordinary Time, which in the Christian liturgical calendar refers to all the months between Advent/Christmas and Lent/Easter. While certain seasons point us toward remembrance in more obvious ways, as a poet, I'm most interested in what we hold onto in the ordinary in-betweens. To remember is to return internally to a place we've been, to an image or idea, to an impression of or relationship with someone. Jonah's prayer inside the belly of the whale—"When my life was ebbing away, I remembered you, Lord"—is an expression of returning. And at its essence, every prayer is a return: to ourselves and to God, to a belief, or simply to a sense of gratitude. Spark Notes The Artist's Reflection Emily Ruth Hazel is a poet, writer, and cross-pollinator who is passionate about diversifying the audience for poetry and giving voice to people who have been marginalized. Selected as the Honorary Poet for the 25th Annual Langston Hughes Community Poetry Reading in Providence, Rhode Island, she presented a commissioned tribute to the Poet Laureate of Harlem in February of 2020. She is a two-time recipient of national Dorothy Sargent Rosenberg Poetry Prizes and was awarded a National Endowment for the Arts Fellowship for a residency at The Hambidge Center in 2014. Her chapbook, Body & Soul (Finishing Line Press, 2005) , was a New Women’s Voices finalist. Emily’s work has appeared in numerous anthologies, magazines, literary journals, and digital projects, including Kinfolks: A Journal of Black Expression and Magnolia: A Journal of Women’s Socially Engaged Literature. Her poetry has also been featured on music albums, in a hair salon art installation, and in a science museum exhibition. Emily has written more than twenty commissioned works for organizations, arts productions, social justice projects, and private clients. Currently, she is developing several poetry book manuscripts and writing lyrics for an original musical inspired by the life of the extraordinary singer and Civil Rights icon Marian Anderson. A graduate of Oberlin College’s Creative Writing Program and a former New Yorker, she is now based in the Los Angeles area. EmilyRuthHazel.com Instagram: @EmilyRuthHazel Facebook.com/EmilyRuthHazel Website Emily Ruth Hazel About the Artist Artist in Residence 2013, Emily Ruth Hazel Word of Mouth In the Wake of the Storm Circling the Waist of Wisdom Give Me a Name Homecoming Runaway Give Us This Day Emily Ruth Hazel Other Works By Explore the other works composed throughout the year in Emily's poetry collection, created as a 2013 Artist in Residence . Explore her works created throughout the year: “In the Wake of the Storm” LIGHT AND DARKNESS (JANUARY 21, 2013) “Circling the Waist of Wisdom” FOOLS (APRIL 26, 2013) “Homecoming” DANCING (JUNE 27, 2013) “Runaway” LIES (AUGUST 8, 2013) “Give Us This Day” HARVEST (NOVEMBER 14, 2013) “Undressing Prayer” MEMORY (JANUARY 6, 2013) Artists in Residence Spark+Echo Artists in Residence spend a year developing and creating a major work in response to Scripture. Click on their names to view their projects. Current Artists in Residence Spark+Echo Arts seeks to develop and support communities of artists who engage with and create in response to the Bible. Due to the impacts of COVID-19 and some internal changes, we decided to pause the Artist in Residency for a year so that we could regroup our resources. Our hope is to continue offering this opportunity in 2021. Previous Artists in Residence 2020 Sapient Soul, Marlanda Dekine (Poetry + Spoken Word) 2019 Lancelot Schaubert (Short Story) 2018 Elias Popa (Installation Art) 2017 Aaron Beaumont (Music), Lily Maase (Music) 2016 Ebitenyefa Baralaye (Visual Art), Chris Knight (Film), Lauren Ferebee (Theatre), Stephanie Miracle (Dance) 2015 Benje Daneman (Music), Jason DaSilva (Film), Melissa Beck (Visual Art), Don Nguyen (Theatre), Christine Suarez (Dance), The Spark & Echo Band (Music) 2013 Nicora Gangi (Visual Art), Emily Ruth Hazel (Poetry) Related Information View More Art Make More Art As the one who turns the wheels inside our minds, behind the sky—the shifter and shaker of galaxies—is upstairs getting dressed in our own image View Full Written Work Undressing Prayer by Emily Ruth Hazel As the one who turns the wheels inside our minds, behind the sky—the shifter and shaker of galaxies—is upstairs getting dressed in our own image, God becomes a brand name proudly worn by a loud, forgetful people, though it clashes with their actions. A label others can’t afford to own, or dismiss as someone else’s style. And what is the founder changing into? Just another suit stiff from the hanger, second skin of a CEO who flies home to a mansion on a mountain of clouds, barely glancing through gleaming glass floors between prime time shows? What if God came down in everyday jeans and a t-shirt, at work invisible to us, like a radio DJ, a speaker of the air whom everyone and no one knows? Would God wear corduroy, a blazer with elbow patches, large feet propped up on a desk containing continents mapped with coffee stains, pushing papers off the back edge—another accidental avalanche? What if God is digging through the geologic strata of waiting pages, an editor who sees the sun-spark in our layers of schist, opens our hearts with a red pen of dynamite, then helps us in laying new foundations and moves us into the stories we are meant to inhabit? Thirsty for purpose, the brave ask for interviews, pitch their manuscripts and mixtapes over the transom, hoping someone will read their thoughts, listen to their midnight music. As for me, I worry that I’ll burn through some unspoken quota, wear out my welcome with the magnanimous powers that be. Rarely do I send an SOS, unless the bluff on which I’ve built my life is eaten away by the waves’ relentless hunger—stalling till I am poised to plunge into the ocean. One college semester, I drifted miles from shore, breath spent treading water, before I finally raised my arms, ready to be thrown a rescue ring from any passing boat. Washed up on the doorstep of an Econ professor, seaweed tangled in my throat, I stood outside mustering my nerve, scripting an appeal for an extension I knew I didn’t deserve. Minutes later, I walked back to my dorm bowled over by his Yes. And so it is during God’s infinite office hours in the four-chambered chapel of the heart. While thumbing through the days of Common Prayer, the book of Ordinary Time, a conversation picks up where it left off. The undressed approach: simply confessing a need, a lack of answers, a yearning to kneel on a cushion of grace instead of the bare stone floor. As I prepare to enter in, to strip down to the struggle, to unclasp all my anxieties, sometimes still I hesitate, knuckles to the wood. But even before I knock, from somewhere deep within, I hear a voice as solid as black walnut benches, luminous like turning pages, calling, as if not for the first time, Come in—the door’s unlocked. Close Loading Video . . . As the one who turns the wheels inside our minds, behind the sky—the shifter and shaker of galaxies—is upstairs getting dressed in our own image Download Full Written Work