Loading Video . . . Screenwriter Samuel Gray Anderson explores the theme of healing and Hebrews 11:13-16 (below) in his new script about a father attempting to reunite with his son from a past life. Hebrews 11:13-16 Distant Greetings By Samuel Gray Anderson Credits: Artist Location: Gardena, California Curated by: Michael Markham 2014 Screen Story Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Distant Greetings is a potential title that has accompanied me for many years. It was inspired by Hebrews 11:13-16: ‘All these died in faith, without receiving the promises, but having seen them and having welcomed them from a distance, and having confessed that they were strangers and exiles on the earth. For those who say such things make it clear that they are seeking a country of their own. And indeed if they had been thinking of that country from which they went out, they would have had opportunity to return. But as it is they desire a better country, that is, a heavenly one. Therefore God is not ashamed to be called their God; for He has prepared a city for them.’ (NASB) I find these words deeply moving in their description of these heroes who glimpsed salvation from afar and held to that promise, refusing the false consolation of a return to a prior – lost or abandoned – homeland, insisting on the existence of something better, something which alone merits that name, ‘homeland.’ Yet my mind constantly seizes on the distance in this expression, ‘welcomed them from a distance.’ There is hope in this, but also a deep longing. Each time I have tried writing something with this title, my mind has gravitated toward the distance rather than the promise; or perhaps you could say that it has lost its way in that distance. I find this aspect much more palpable, but trying to articulate it, I seek a stronger sense of the promise that lies beyond it. I don’t think that I have ever succeeded in these attempts, which is perhaps why I turn to these words so often. As I was contemplating this passage again recently, the title resonated in my mind with a story that I have wanted to tell for a long time, loosely inspired by an F. Scott Fitzgerald short story, ‘Babylon Revisited’; the story of a man trying to reunite with his child, lost due to many failings that he is trying to make right, not yet finding himself capable of doing so. The central character in this story experiences it on a much different level, but he also lives in this tension between something that lies behind and a promise of life to come – in this case, embodied in his child and the potential for reconciliation. Following this basic framework while writing my own story, I sought to draw out this dynamic, making the promise of life more pronounced in certain moments while also deepening the sense of separation. Fitzgerald’s story is about a man working to convince others that he deserves to be a father; with mine, I wanted to present a man who still has to convince himself, and who struggles with the tension between coming to terms with one’s past and forgetting, never quite certain where healing lies. Fleshing out this story, I found that I was able to inhabit it more deeply by working within a form that is new for me; a screenplay form that incorporates short story elements, or a short story form constructed in a way that points toward a film. Pasolini wrote of the screenplay as an art form that aspires to become another art form: it is not complete in itself, but always points toward another work that will fulfill it. Exaggerating this aspect of the form seemed fitting for exploring this idea of living in between a promise and its fulfillment, and for exploring the tension between forgetting the past (but possibly losing all it meant) and seeking reconciliation with it (but risking to live perpetually in its shadow). In order to live more fully in the skin of my characters, and with the hope of giving the reader a more intense, if more indirect, taste of the subsequent film that could arise from this form, I tilted the screenplay in the direction of prose. At times, the process took me much further than I expected or intended, and certain passages will clearly be impossible to recreate in a film without significant translation. But I found this to be very fruitful, as it helped me more fully to feel what was at stake in the questions driving it. The more I ponder these questions, the more I find that they are central to my understanding of what is potential in art. Art gives us a sense of what is possible beyond the world as we know it, but often does so by deepening our sense of a wound that we have all experienced, together and individually. In this, perhaps, it offers us the strength to resist false consolation, to continue to insist that there is something more, ‘a better country,’ as the passage reads. Even when it offers us no specific promise, art gives us the sense of this country, filling us with yearning. This yearning may heighten our experience of the wound; but it also guides us toward healing, at times by insisting that true healing is possible, at others by reminding us that we have not yet experienced true healing, and perhaps haven’t even conceived what true healing would be. It helps us to welcome the promise ‘from a distance,’ perhaps; in any case, this is what, in the best moments, the act of writing and filmmaking does for me. Spark Notes The Artist's Reflection Samuel Gray Anderson is a writer and filmmaker living in Gardena, CA with his wife Susan and son Theodor. He was born in Latrobe, PA, grew up in South Carolina, and studied English at Yale University. He is the co-founder of the production company Almond Tree Films, with which he has written and produced the feature films Munyurangabo (2007), Lucky Life (2010), and Abigail Harm (2012). His work has participated in the Cannes, Toronto, Berlin, and Tribeca film festivals, among others. Website Samuel Gray Anderson About the Artist Samuel Gray Anderson Other Works By Related Information View More Art Make More Art A faint din of glasses chiming, being filled with ice and liquor; distant chatter echoing across a lounge. View Full Written Work Close Loading Video . . . A faint din of glasses chiming, being filled with ice and liquor; distant chatter echoing across a lounge. Download Full Written Work

Loading Video . . . Part 1: Follow the process for creating this piece for Artist in Residence 2016 Romans 9:20-26 Artist in Residence 2016, Ebitenyefa Baralaye – Part 1 By Ebitenyefa Baralaye Credits: Curated by: Spark & Echo Arts, Artist in Residence 2016 2016 Ceramic Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link God takes the prerogative of having a sovereign hand over what we see as good and bad, over wrath and mercy. He also operates omnipotently outside of our relativistic justifications of which things, including ourselves, exist under those judgements. He alone ordains what is deemed for glory or destruction for the purpose of magnifying his greatness in the scope of existence and our personal lives. I am fascinated by how God can be glorified in destruction and objects of wrath, prime among these being the body of Christ on the cross. I’m humbled by the fact that God chooses those things deemed condemned as the recipients of his mercy, thinking specifically of myself and the body of his church. Being a ceramicist I am drawn to the metaphor of pottery used in this scripture passage. I am familiar with the experience of making from the same material of clay a piece that gets ushered into my art portfolio and another that lands in the reclaim bucket or trash purely on the whims of my judgement for the advancement of my creative practice. The qualities that makes something worthy or condemned exists within the eye of the beholder and the hand of the maker. God’s perspective molds the state of everything’s existence. Interestingly God turns on its head the patterns that we would expect in this perspective: the first becomes the last, the least becomes the greatest, outsiders and slaves become heirs. I am starting off my commission by exploring formal metaphors of God’s inversion of grace and material embodiments of grace. I am planning to make large twin sets of ceramic vessel/bowl forms. These will be press-molded in clay capturing the imprints of my hands and the kinetics of gesture as their texture. My fist step is creating the armature for a model. This model will then be used to produce a plaster mold from which I will cast the clay pieces. – The model starts off as an upside down armature; the final form will be flipped. The base armature is made of plywood and chicken wire. The wood and wire then gets covered with strips of burlap and plaster. The plaster then gets an initial covering of clay as I model the form and surface. All materials are copyrighted by the artist and used here by permission. Spark Notes The Artist's Reflection Ebitenyefa Baralaye is a ceramicist, sculptor and designer. He was born in Lagos, Nigeria, raised in Antigua and lives in the United States. Ebitenyefa received his BFA in Ceramics from the Rhode Island School of Design. His studio bases have included Long Island City, Queens; the Elizabeth Foundation for the Arts in New York City; and Bloomfield Hills, MI where he is currently enrolled as a Ceramics MFA candidate at the Cranbrook Academy of Art. He has exhibited in various solo and group shows domestically and internationally including the 2011 Gyeonggi International Ceramix Biennale in Icheon, South Korea and the 2016 Toronto Design Festival. He has held residencies at the Peters Valley Crafts Center in Layton, NJ and most recently, Talking Dolls in Detroit, MI. Website Ebitenyefa Baralaye About the Artist Artist in Residence 2016, Ebitenyefa Baralaye – Part 3 Artist in Residence 2016, Ebitenyefa Baralaye – Part 2 David Abram Artist in Residence 2016: Ebitenyefa Baralaye – "Bam Bam" Ebitenyefa Baralaye Other Works By Follow the developmental journey of Ebitenyefa’s project by reading his FIRST , SECOND , THIRD and FINAL posts written as a 2016 Artist in Residence. Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . Trumpet player John Raymond explores Psalm 23 and the theme of "Lies" in his beautiful and moving jazz quartet. Psalms 23 The Forgotten One By John Raymond Credits: Flugelhorn by John Raymond Guitar by Gilad Hekselman Bass by Aidan Carroll Drums by Austin Walker Curated by: Benje 2013 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link It’s funny. We never seem to doubt God’s presence with us when things are going well. But when things get tough, what happens? We worry. We fear. We are gripped with inner anguish at our circumstances and at what their effect is on us. During these times, we would never say that we don’t believe God is with us. Not for a second. But our worry and fear and anguish all reveal to us that something has certainly gone awry - we’ve subtly believed the lie that God is not there. Psalm 23 expounds on this theme, but comes at it through the back door. Throughout the entire psalm we sense the rest, the peace and the contentment David has because of God’s presence with him. But the question is… why are we so comforted by this? Why do we feel such peace? Isn’t it because we know that we often fall into feeling the opposite of what David feels when we go through trials? When David proclaims, “I will fear no evil, for you are with me,” he’s telling us something about where the source of comfort is found (in the steadfast presence of God with us, no matter what the circumstances). But on the flip side, he’s also telling us something about where the root of our fears and anxieties are found: in our forgetfulness and unbelief of God’s promised presence with us. This unbelief (which is ultimately belief in a lie) makes us mourn and lack peace in our hearts. However, while we fall into believing these lies all the time and thus ultimately deserve nothing but separation from God, the amazing reality is that we are nevertheless near to Him because of what Jesus endured on the cross. While Jesus never believed this lie, he took the punishment we deserve for believing it ourselves. In return, we are able to be confident in the reality that God will always be with us until we meet Him in eternity one day. What an amazing truth! This composition – “The Forgotten One” – seeks to display the pain that comes from believing lies about God’s presence, the realization that He is yet near to us because of Christ, and the humble rejoicing that comes with His continued presence with us. Spark Notes The Artist's Reflection John Raymond “Creative, unpredictable and compelling. John has a unique voice, and he is definitely saying something that is worth listening to” (Jon Faddis). Labeled “a prepossessing young trumpet player…” (Nate Chinen, New York Times), John Raymond is quickly making a name for himself as an up-andcoming artist to keep an eye on. A featured artist at the 2012 10th Annual FONT Festival (Festival of New Trumpet) and the 2013 Winter Jazz Festival, Raymond has already performed as a leader at some the nation’s top venues including Dizzy’s Club Coca-Cola, the Dakota Jazz Club, the Jazz Showcase, Smalls Jazz Club and the Blue Note Jazz Club. He has collaborated or performed with musicians such as John Abercrombie, Chris Potter, Ben Williams, Maria Schneider, Gilad Hekselman, Linda Oh and Otis Brown III among others. John has performed at notable events such as the Austin City Limits Music Festival and on NPR’s Toast of the Nation New Year’s Eve celebration, and he has toured internationally in China, the UK and the Dominican Republic. Raymond has also distinguished himself as an elite horn arranger, working with top gospel and R&B artists across the country and most clearly evidenced by the three GRAMMY-nominated songs that he has arranged and recorded horns for. His debut album “Strength & Song,” released in February 2012 and produced by legendary trumpeter Jon Faddis, has already attracted national and international attention (“Soaring. A strong early work…very complete and well intentioned” – NextBop.com ). The album features Raymond’s carefully-crafted original compositions that draw on jazz, rock and hip-hop influences, creating emotionally engaging music with affecting, memorable melodies. Raymond’s voice on the trumpet is equally as notable – his expressive sound, intricately-woven melodies and story-like phrasing come together to lead the band to routinely transcend to new heights. Combined with the interplay from a cast of “who’s who” of rising star musicians, Raymond is proving that he is well on his way to becoming a major force in the music industry. “Possessing a forte that few seasoned musicians have attained…a brilliant talent whose luminosity is endless” (Birmingham Times). www.johnraymondmusic.net Website John Raymond About the Artist John Raymond Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . This work is the finalized project of 2015 Residence, Jason DaSilva. To follow the development of his film-in-progress, "When We Walk," click here. For the final video, I made use of animation that will be present throughout the entire piece of When We Walk in bits and pieces just as it was in the recent film When I Walk. When We Walk will be a follow-up film and has similar imagery to that of When I Walk. Romans 12:2 Artist in Residence 2015: Jason DaSilva By Jason DaSilva Credits: Title: When We Walk Film by Jason DaSilva Curated by: Spark & Echo Arts, Artist in Residence 2015 Film, Documentary Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link For the final piece presented, I used Romans 12:2 to highlight my personal challenges with multiple sclerosis and how I choose to use them only as a way to transform myself and present the work that I do in a way that it can help educate others. Do not conform to the pattern of this world, but be transformed by the renewing of your mind. Then you will be able to test and approve what God's will is- his good, pleasing and perfect will. For the final video, I made use of animation that will be present throughout the entire piece of When We Walk in bits and pieces just as it was in the recent film When I Walk. When We Walk will be a follow-up film and has similar imagery to that of When I Walk. Because When I Walk recently won an Emmy award, there is much anticipation for the follow-up film. In the piece, I show some of the different statistics for primary progressive multiple sclerosis and how I do not fit in any of the statistics of somebody who is typically diagnosed with the disease. Already, primary progressive only affects 10% of the Earth's population. One out of one thousand people get MS so that means that the possibility of me getting primary progressive multiple sclerosis is one in ten thousand people. Generally MS affects more women than men and so does primary progressive. That means the statistics of men to women is 1 to 3 and thus the stats of me getting MS is only 33% out of the one in ten thousand. Sounds kind of confusing: watch the video for a clearer picture. MS affects more people in temperate climates- I grew up in South Florida, so somehow I fell into this stat. The kicker is that most people that develop MS are from Western countries. My family is from India, and my parents' generation were born and raised in East Africa. So all in all, I fell into something that I could have never expected. That's when the passage comes in my mind. I realize that I was placed on this Earth and given this strange disease with astronomical odds so that I could use my artistic talents to help spread awareness and help others with MS and other disabilities. I'm glad to share it with the Spark and Echo community and I look forward to seeing all the work you produce and hearing from you in the future. Spark Notes The Artist's Reflection Jason DaSilva has been a prolific filmmaker for the past 10 years. He has directed four short films (OLIVIA’S PUZZLE, A SONG FOR DANIEL, TWINS OF MANKALA, and FIRST STEPS) and two feature-length documentary films (LEST WE FORGET and WHEN I WALK). Many of his films have won awards; OLIVIA’S PUZZLE premiered at the 2003 Sundance Festival and qualified for an Academy Award. Three of his films have had national broadcasts on PBS, HBO, and CBC. He also produced Shocking and Awful, a film installation on the anti-Iraq war movement, exhibited at the 2006 Whitney Biennial. Each one of these works advanced Jason’s objective to give voice to those on the periphery of society. In 2006 Jason took a short break from filmmaking to earn his MFA in Applied Media Arts from Emily Carr University. He recently produced and directed an Op-Doc (opinion documentary) for the New York Times called ‘The Long Wait,’ published in January 2013. DaSilva’s latest film, WHEN I WALK, was an Official Selection of the 2013 Sundance Film Festival and won Best Canadian Feature at HotDocs 2013. Following the film’s theatrical release this fall, it will air on POV on PBS in 2014. He currently lives and works in Brooklyn, New York. Interested in learning more about Jason’s creative process? Visit his website at: http://wheniwalk.com/ Website Jason DaSilva About the Artist Artist in Residence 2015: Jason DaSilva Part 3 Artist in Residence 2015: Jason DaSilva Part 2 Artist in Residence 2015: Jason DaSilva Part 1 Jason DaSilva Other Works By To follow the development of his project as a 2015 Artist in Residence, read his first , second , and third posts. Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . "There Is Room" was composed by Jonathon Roberts as a tribute to the composer's piano teacher, integrating his favorite verse of John 14:1-4 with themes from the classical works they studied together. John 14:1-4 There Is Room By Jonathon Roberts Credits: Words and Music by Jonathon Roberts Musicians: Jonathon Roberts, piano, voice; Emily Clare Zempel, clarinet Recording and mixing by J Scott Hinkley Filming by Michael Markham Mastering by Christopher Colbert Location: Clocktower Lofts, Bronx, New York Curated by: Jonathon 2013 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link This song was written for Gustav Abrahamson, my piano teacher and most steady musical influence throughout childhood and high school. Just about any piano skills and good habits I’ve held on to through the years are thanks to Gus. The song quotes two of our favorite pieces we worked on together, Chopin’s “Raindrop” Prelude Op. 28, No. 15, and Grieg’s Nocturne Op. 54, No. 4. This spring, after hearing a Spark & Echo concert, Gus said something like, “ You know Jonathon, my other star pupils have composed and dedicated major works to me over the years, for wind ensembles and so on…” He continued, “Just so you know, my favorite verse has always been ‘In my father’s house are many rooms…I am going there to prepare a place for you…I will come back to take you to be with me where I am…’ because of the promise to us.” That is quite a promise. Gus this song is for you; you taught me how to play the piano, and I’m forever grateful. 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 These are My Sons Consider Me a Partner Weakness The Day Is Almost Here Surrogate Babbler Remember Me Prayer How Beautiful 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 This album is part of the Spark+Echo Band's video album In the Clocktower . Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . Fools for Christ is a composition for saxophone quartet, voice, and electronics setting some of Apostle Paul's more intense words, primarily from his letter to the Corinthians. It is part of the larger theatrical production, Project Paul. 1 Corinthians 4:8-21 1 Corinthians 4:3 1 Corinthians 6:12 Acts 26:24 Acts 20:31 1 Thessalonians 5:19 Galatians 4:12–16 Galatians 5:15 Fools for Christ By Jonathon Roberts Credits: Saxophone Quartet: Chris Clouthier, Allison Davis, Mark Determan, Kim Reece // Voice (Apostle Paul): Jonathon Roberts // Additional Voices: Jacob Allen, Paris Brown, Charlie Christenson, Anneliese DeDiemar, Brendan Marshall-Rashid, Maryl McNally, Aram Monisoff, Emma Sweet, Delilah the Guinea Pig // Image: Scott Baye // Additional Text: Christy Bagasao // Artist Location: Wisconsin Curated by: Spark+Echo Arts 2005 Music (Saxophone Quartet, Vocals, Effects), theater, performance Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Fools for Christ was originally composed for saxophone quartet and voice, setting part of the Apostle Paul’s first letter to the Corinthians. It was then reworked through electronic processing as part of my multimedia theater piece Project Paul . In his travels Paul used a variety of methods to speak to different groups of people depending on what he thought they needed to hear. Sometimes he used kind words of encouragement, other times sarcasm and humor. In the case of “Fools for Christ”, he spoke with intensity, frustration, discipline and even anger. It’s important to remember that at the root of all is his words is love. He loved the Corinthians and was trying to reach them in any way possible with the hope and love of Jesus that had been shown to him. The piece begins with a montage of Paul’s more intense words. The driving sounds accompanying the first half of the piece are a combination of sampled instruments, vocal effects, toys and one guinea pig named Delilah. Excerpts from a choral setting of Psalm 46, a jazz ensemble version of the hymn “Oh, Sacred Head Now Wounded”, and some of my other compositions are woven together in this collage. The soundtrack of the second half of the piece features a recording of saxophone quartet (playing the original live concert version of “Fools for Christ”) that has been distorted. As Paul’s stern message warms in love, so the saxophones’ distortion is stripped away revealing pure tones. 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 How Beautiful I Am a Fool The Constant Ecclesiastes Cows Blessing More Than Rubies Only a Few Years Will Pass Dear Friend Jonathon Roberts Other Works By Fools for Christ I care very little if I am judged. (1 Corinthians 4:3) “Everything is permissible”—but not everything beneficial. “Everything is permissible”—but I will not be mastered— (1 Corinthians 6:12) Festus shouts, “You are out of your mind, Paul!” “Your great learning is driving you insane.” (Acts 26:24) “Everything is permissible” but I will not be mastered by anything! (1 Corinthians 10:23) So I press on to take hold of that for which Christ Jesus took hold of me. Brothers, I have not yet taken hold of it. (Philippians 3:12) Be on your guard! Remember that for three years I never stopped warning each you night and day with tears! (Acts 20:31) Do not put out the Spirit’s fire. (1 Thes. 5:19) By smooth talk and flattery they deceive the minds of naïve people. (Romans 16:18) For our struggle is not against flesh and blood, but against the powers of this dark world and against the spiritual forces of evil in the heavenly realms. (Eph 6:12) Christ redeemed us from the curse of the law by becoming a curse for us, (Gal 3:13) I plead with you brothers, become like me, for I became like you. What has happened to all your joy? If you could have done so, you would have torn out your eyes and given them to me. Have I now become your enemy by telling you the truth? (Gal. 4:12-16) You were running a good race. (Gal 5:7) Who cut in on you? Who has bewitched you? (Gal 3:1) You bite and devour each other. You bite and devour each other and serve your own appetite. (Gal 5:15) Where are we without God? The most powerful man will one day be dust. The highest mountain beneath the torrent ocean. The highest mountain beneath the torrent ocean. The highest mountain beneath the torrent ocean. (Christy Bagasao) ________ Already you have all you want! Already you have become rich! You have become kings—and that without us! How I wish that you really had become kings so that we might be kings with you! For it seems to me that God has put us apostles on display at the end of a procession like men condemned to die in the arena…like men condemned to die in the arena. We have been made a spectacle to the whole universe, to angels as well as to men. We are fools for Christ, but you are so wise in Christ! We are weak, but you are strong! You are honored, we are dishonored! To this very hour we go hungry and thirsty, we are in rags, we are brutally treated, we are homeless. When we are cursed, we bless; when we are persecuted, we endure it; when we are slandered, we answer kindly. Up to this moment we have become the scum of the earth, the refuse of the world. I am not writing this to shame you, but to warn you, as my dear children. Even though you have ten thousand guardians in Christ, you do not have many fathers, for in Christ Jesus I became your father through the gospel. Therefore I urge you to imitate me, for this reason I am sending to you Timothy, my son whom I love, who is faithful in the Lord. He will remind you of my way of life in Christ Jesus. Some of you have become arrogant, as if I were not coming to you. But I will come to you very soon, if the Lord is willing, and then I will find out not only how these arrogant people are talking, but what power they have. For the kingdom of God is not a matter of talk but of power. What do you prefer? Shall I come to you with a whip… or in love and with a gentle spirit? (1 Corinthians 4:8-21) Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . 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lucasbianchistrangerhighres.jpg Loading Video . . . We are proud to premiere this work by Chicago artist Lucas Bianchi in response to the verse of Romans 14:4 and the theme of "strangers." Romans 14:4 Seated By Lucas Bianchi Credits: Curated by: Lucas Bianchi 2014 14.5 x 26 inches Pastel on Paper Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link What I do: I embrace the act of drawing as a means to maintain a physical connection with my subject and the created work. Having been trained traditionally, I acknowledge and participate in 21st century art making in this manner. When I fully experience the moving dynamic within and around my subject, I develop a relationship with the subject. The process occurs as an exploration of the 3-dimensional construct and implied space around the motif. By confronting my subject, I discover a rhythmic quality to inform the surface. I find my subject's structure through repetition of line and tone, and the examination of pictorial space. By indicating broad zones and working with a limited palette, I maintain freedom in the process of locking in final decisions within my work. The simplicity of this palette of light and dark allows me to the experience of a variety in surfaces, mediums and mixed media. In the developing stages of the drawing I use gesture and repetition. I find patterns initiated by the marks, through the planar construction of the subject and areas of space. These patterns scale in rhythm initiating from the marks, through the planes of the subject, and into various facets of the space. I wish to share my point of view and encourage the viewer to enter the image and become part of my overall experience through the scale of the image. I seek to maintain a playful quality in my subject while staying true to my perception of it. My works act as the reminder of my youth and reflect the progress I have made in incorporating this discipline. My Work for Spark and Echo: Romans 14:4 Who art thou that judgest another man's servant? to his own master he standeth or falleth. Yea, he shall be holden up: for God is able to make him stand. The subject is seated in scene against a mirror. He himself carries a humble gesture to suggest a thoughtful and meditative state while the lighting suggests a presence from above. His relationship to his own reflection is like that of a man to a stranger. The visual detail within the scene was left out in order to emphasize this relationship. And yet his own reflection is a person no different than himself. Spark Notes The Artist's Reflection Lucas Bianchi is a Chicago based artist who studied Life Drawing at the American Academy of Art. His work carries a blend of influences from design and classical tradition. He enjoys studying the figure while working with complex compositions in his personal works. Website Lucas Bianchi About the Artist Lucas Bianchi 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

Loading Video . . . Responding to Galatians 4:21–5:1, author and 2019 Artist in Residence Lancelot Schaubert presents the first of his four short stories that will ultimately become chapters in the third novel within his White Trash Magic trilogy. Find the complete progression of the work linked below. Galatians 4:21-5:1 Artist in Residence 2019: Lancelot Schaubert - Part 1 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 March 25, 2019 This story marks part one of a serialized work in four parts, all of which will eventually nest itself within a larger novel I’m loosely calling The Moon Boys, part one of the Bell Hammers (or “White Trash Magic” trilogy). The story features two boys struggling between the son of the flesh and the son of the spirit, the Wordsworth / Coleridge dichotomy, the wonder of the mundane and the wonder of the fantastic, and the great modern split between urban and rural with families ties barely holding it all together. In this story, you’ll get a flavor for the initial magical appeal as well as watch me t-up some of the coming themes in the other three pieces. 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 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 Read Lancelot's second , third and final pieces in the development of his 2019 Artist in Residence Project Related Information View More Art Make More Art "Flower in Hand" View Full Written Work Close Loading Video . . . "Flower in Hand" Download Full Written Work

Loading Video . . . Prayer, a direct setting of some of Apostle Paul's most beautiful words, also is the final scene in the theatre production Project Paul, by Jonathon Roberts. Ephesians 3:16-19 Prayer By Jonathon Roberts Credits: Vocals: Jonathon Roberts Special Thanks: Scott Hawley Artist Location: New York City Curated by: Spark+Echo Arts 2010 Composition for Baritone and Tape Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Prayer was originally commissioned by Baritone Scott Hawley for his senior recital at Lawrence University. I then developed it into the version here, as the final scene in Project Paul, the multimedia show I co-wrote about the Apostle Paul. The text is directly from Paul’s letter to the Ephesians and was not changed at all. It’s beautiful writing by Paul–passionate and expansive–that comes back to me often in my life, feeling new each time as the demands of life change. 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 How Beautiful 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 Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

n.-gangi-peace-with-god.jpg Loading Video . . . Nicora Gangi uses color, movement, and shape to invite contemplation of Romans 5:1-2 via exploration of the symbolism in her abstract art piece. Romans 5:1-2 Peace with God By Nicora Gangi Credits: Curated by: Spark+Echo Arts 2022 11 x 14 inches Paper Collage on Archival Drawing Paper Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link In this piece, I attempt to convey the great comfort flowing from the pen of the Apostle Paul as he writes about the high privilege of having peace with God through the accomplished work of Jesus Christ on the cross at Calvary. The fresh green triangles, a symbol of regeneration, refer to Christ as the giver of His peace. According to the Scriptures, at the beginning of the created order, Adam had perfect peace with God. But that peace was severed when sin entered the serene landscape of the earth and the heart. This is represented in the dark and fiery portions in the bottom of the image. The piercing divide between God and humanity now infects us with quarrels, wars, and deep upheavals of the spirit and soul. The rich and loving friendship we now have with our maker is symbolized by the royal-purple slices at the bottom of the collage, rising to the top of the piece. We wear His royal color, studded with the stars of the universe. We have access to God's presence. The light-rays emanating from the top triangle speaks to this hope. Other passages of influence for the collage include Revelation 1:16 ; Revelation 4:3 ; Revelation 22:1-2 . 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 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 Dance 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 Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Christopher-Williams_Queen-of-SheebaQueen-Esther-resized.jpg Loading Video . . . Visual artist, Christopher Adam Williams (AKA "The Black DaVinci") celebrates the enduring beauty of women of character in this meditation on Proverbs 11:16. Proverbs 11:16 The Modern Day Queen of Sheba & Queen Esther By Christopher Williams Credits: Curated by: Rebecca Testrake 2020 84 x 49.5 inches Oil on canvas and copper leaf Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link "The Modern Day Queen of Sheba & Queen Esther" seeks to contribute to my emergent dialogue and expression of black joy. This body of work is dedicated to the joyous, resilient black women in my life. The use of the color purple invites a conversation about the color of our skin. Often our skin is associated with oil, darkness or dinginess. Darker skin, throughout history, has been considered ugly. However, the choice of the color purple is rooted not only in its beauty and luster, but also its royal ancestry. Colonial kings and queens decreed only royalty and the sophisticated were allowed to wear purple. Purple dye was considered more valuable than gold. My work depicts that African Americans wear their royal ancestry on their skin everyday. I then look back to early modern art history from the Byzantine art period, the gold, copper and silver leaf used in the background highlights my subjects as being blessed by God or as an object of veneration. The relationship of purple and gold allows for each portrait to project a majestic, heavenly glow. Spark Notes The Artist's Reflection Christopher Williams’ art practice focuses on Black Joy — a spiritual feeling that has uplifted the African Diaspora through countless trials and tribulations in the quest for freedom and equality. It defies a simplistic explanation. He explains its experience: Black Joy is like a heartbeat. Never bitter, it is sweeter than the blackest of cherries or the richest of chocolates. It’s like a steady climb or an out-of-frame kiss. It is a moment that is magical and void of being Black, judged and discriminated against. My joy, my Black Joy may not be the same as the next. It is my vehicle for connection, educating others and sharing my experience as a Black man. What makes the journey of my work unique is my ability to develop authentic empathy for my subject matter. I have found this process is like walking to the edge of darkness and then summoning the courage to take one more step to understand what lies beyond our differences. These steps are necessary to overcome bigotry, hatred and indifference, to embrace the pursuit of joy. Website Christopher Williams About the Artist Honor Thy Father Christopher Williams Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work