Loading Video . . . Tap dancer Andrew Nemr created a work entitled Turning Point in response to the theme of "Joy" and Psalm 30:11-12. Psalms 30:11-12 Turning Point By Andrew Nemr Credits: Curated by: Jonathon Roberts 2012 Tap Dance Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link It is in the cycle of motion that God has been most present in my life. Whether it be the darkest lament or the greatest of praise often times the outward motion has remained the same. The vocabulary is after all finite. Rather it is the surrounding thoughts, feelings, references, and inspirations that change, until moments are achieved in which the act of moving itself and the sound that is created is in reverence to the gift that has been given. There becomes only one thought, only one feeling, only one reference, only one inspiration. What would it be to live continually in the those moments. Spark Notes The Artist's Reflection Mentored by Gregory Hines, Andrew Nemr is considered one of the most hardworking and diverse tap dance artists today. Whether being recorded on David Eggar’s Grammy Nominated album Kingston Morning, directing Cats Paying Dues/CPD PLUS, or co-founding the Tap Legacy Foundation, Inc., Andrew has garnered a reputation for impeccable musicianship and sensitivity, and respect for the craft that he loves. A 2012 TED Fellow and recipient of an NEA Masterpieces: Dance Initiative Grant, Andrew’s choreography and solo work has been described as “a welcome return to the elegance of simplicity and the tap dancer as maker of aural magic” (exploredance.com) and “deeply touching” (Daily Gazette). Andrew has performed, taught, and presented talks nationally and internationally including Tokyo, Hong Kong, London, and Berlin with appearances alongside Harry Connick Jr., the Duke Ellington Orchestra, the Lionel Hampton Orchestra, Les Paul. Andrew’s tap dance company, Cats Paying Dues/CPD PLUS, has been featured on national television, and across the northeastern United States. In his efforts to continue to champion the art form of tap dance, Andrew co-founded the Tap Legacy Foundation, Inc., along with Gregory Hines, chartered to build a cultural center in New York City dedicated to tap dance. As an extension of this mission Andrew directed the 2011 Tap Extravaganza – New York City’s Celebration of National Tap Dance Day and narrated DanceTime Publications’ first tap dance DVD, Tap Dance History: From Vaudeville to Film. A card-carrying member of the original Copasetics, Inc., Andrew has been blessed to receive the guidance of many of the great tap dancers including Eddie Brown, Harold Cromer, Dr. Bunny Briggs, Dr. Jimmy Slyde, Dr. James “Buster” Brown, LeRoy Myers, Ernest “Brownie” Brown, Henry “Phace” Roberts, Dr. Henry LeTang, Mable Lee, Tina Pratt, Dianne Walker, Savion Glover, Ted Levy, and Gregory Hines. Website Andrew Nemr About the Artist Andrew Nemr 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 fantastic and unsettling creative piece from author Jeff Martin responds to Titus 1:5-14; 2:9-15; 3:8-14. Titus 3:8-14 Titus 2:9-15 Titus 1:5-14 Slow Belly By Jeff Martin Credits: Curated by: Jonathon Roberts 2018 Creative Writing Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Poor Titus. Think about what he’s been asked to do in this letter – find job candidates who are not only holy and just, but who are also blameless (“a bishop must be blameless, as the steward of God”). It’s a tall order at best, a laughable one at worst, since how many people can say unequivocally that they’re entirely without blame? It got me thinking about what that job application would look like in our HR-driven modern era, and the fact that the very first question would necessarily have to be, “Are you blameless?” The other requirements are equally demanding: Are you holy? Are you just? Are you righteous? In other words, exactly the kinds of questions that the truly holy, just, and righteous would probably never answer yes to. It was both interesting and frightening then to write a story about someone who would answer yes to those questions and fully believe he was in the right in doing so. I say "frightening" because it strikes me that it's precisely this reaction – assumed, but unexamined, righteousness – that's brought our political discourse these days to a full stop, a stop the vast majority of us, myself included, are likely complicit in. Political sentiments aside (if that can be done these days), it’s a strange story for sure. What I wanted the narrator to have the experience of, but never understand – the understanding is for the reader – is that he can believe himself to be holy and just all he likes, but God is still going to remain maddeningly mysterious, maddeningly unexpected, always near, always far. Spark Notes The Artist's Reflection Jeff Martin co-directs the UVA Young Writers Workshop and has been published in New England Review , Alaska Quarterly Review , and No Tokens Journal , among others. Find more of his work online at readjeffmartin.com . Website Jeff Martin About the Artist Winebibber Jeff Martin Other Works By Related Information View More Art Make More Art Bishopric Application Posting Number: 19213 Are you blameless? View Full Written Work Close Loading Video . . . Bishopric Application Posting Number: 19213 Are you blameless? Download Full Written Work

Work Valerie Lloyd 2 Thess3 6 13 Loading Video . . . Painter Valerie Lloyd reflects on the diversity of roles that make up the project of 'work' in her piece reflecting on 2 Thessalonians 3:6-13. 2 Thessalonians 3:6-13 Work By Valerie Lloyd Credits: Curated by: Laurel Justice 2018 16 x 20 inches Oil on Canvas Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link In this passage Paul writes to a new church about the necessity of work in their community. I focused on the liveliness of a group active among each other with their own individual talents and skills working together. By creating a composition using repetition and lively color, this work reflects on the necessary work that enriches our lives. These verses are active, enlivening and empowering to each person's value and necessary involvement to the greater whole. Ultimately, it is better to find joy and productivity in work. Spark Notes The Artist's Reflection Valerie Lloyd paints with both acrylic and oil on canvas and wood panel. She enjoys depicting still lifes into modern and simplified images, creating abstract paintings, and occasional works in an illustrative style. All three styles are often inspired by personal spiritual and metaphorical exploration. Valerie has remained a creative throughout her life, whether it be in her own work at home, as an art teacher to students of all ages, or commissioned design projects. She currently works as the curator for The Machine Shop creative workspace and gallery. She has a Bachelors of Arts and Education from Colorado State University. She strives to always inspire those around her in their creative endeavors and truly believes in the power of art to transform culture. Website Valerie Lloyd About the Artist Valerie Lloyd Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . The creation of this work stems from a combination of artist Seth Ruggles Hiler's reflection on his experiences with animals and the verse of Jeremiah 13:20 while exploring the theme "Sheep." Jeremiah 13:20 From the North By Seth Ruggles Hiler Credits: Curated by: Spark+Echo Arts 2012 30 x 40 inches Oil on Canvas Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link The inspiration for this painting comes from Seth's surroundings. As a child, he grew up on a New Jersey farm surrounded by animals. His spiritual background in Anglicanism and Methodism and his passionate involvement with the LGBT community harmonizes with my creative drive for expression and his academic training. Seth's work has a classical sensibility with contemporary color and composition. He strives to go beyond creating likeness or surface description by expressing a momentary relationship to the subject, informed by a collection of past experiences. The landscape in this image was taken from a snapshot of the Appalachian trail above the frost line, reminding Seth of Jeremiah’s note about the flock coming down “from the north.” Also remembering his visit to a sheep field in Martha’s Vineyard, Seth notes that animals have always held a tender spot in his heart. Seth's landscapes, portraits and collaborations often simultaneously explore ideas about the exceptional and the mundane, creating a natural space for him to explore the ironic relationship between (biblical) sheep and their Shepherd. When viewed through human lenses, Seth see an anomaly in the relationship of the Shepherd and his sheep: that such a vulnerable animal would have implicit trust in its leader, following unquestionably. Thus, the surrounding verses in Jeremiah’s passage hint that there may be some trouble for this flock. Spark Notes The Artist's Reflection Seth Ruggles Hiler received a BFA in painting from Syracuse University in 2002 and an MFA from the New York Academy of Art in 2005. He maintains a studio in Boonton, NJ and is a professor at Bard High School Early College in Newark, New Jersey. Seth’s work has been exhibited at galleries and institutions throughout the North East and in Ontario, Canada, including the Morris Museum in New Jersey, New York City’s Salmagundi Club and Syracuse University. In 2010, the Monmouth Museum of Art featured his work in the solo exhibition “NJ Emerging Artists Series: Seth Ruggles Hiler – Portraits.” Read more about his process on his 2010 Plein Air excursion through New England, and a sweet note about “ the Sabbath .” The premiere of “Ash Unravel,” a dance and drawing collaboration with dancer/choreographer Michael Caldwell, was presented in Toronto in 2011 at the Dance Made in Canada Festival. Guerilla Gallery in Newark, NJ presented “ CROPPED, An Intimate View ,” a solo show of large graphite portraits in September 2011. See more of Seth’s work at www.sethruggleshiler.com Website Seth Ruggles Hiler About the Artist Seth Ruggles Hiler Other Works By In further echo of this passage and inspired by this work, Nicolas Destino wrote "The Capture" and "The Escape." Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Prophet Amos 1 Marty Allen Resized Loading Video . . . Marty Allen mixes classical symbolism and sock puppetry for the creation of this remarkable piece responding to Amos 1:1; 7:1-6, 12-16. Amos 1:1 Amos 7:1-6 Amos 7:12-16 Sock Puppet Portrait of The Prophet Amos By Marty Allen Credits: Curated by: Jonathon Roberts 2018 Sock, Craft Foam, Hot Glue, Marker, Photoshop Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link I have made many Sock Puppet Portraits, but this is the first Saint. This also marks many other firsts. Typically, I build a sock puppet and take its photograph, doing little aside from cleaning the photo and occasionally adding an 'old-timey' filter for a few historical figures. Something in this subject inspired me to go further with both the piece and its treatment. The sock puppet itself is seen with some specific symbolic choices, as was often the case in classical oil paintings. We see both the subject's downturned eyes as well as a downturned sycamore leaf, attached to his shepherd's staff. And we also see very plainly his exposed heart, all pinned against a beam of light from above. And ok, sure, much of this is a little on-the-nose, so to speak, but at the end of the day, we're talking about a Sock Puppet Portrait of a Saint here. Additionally, I've added my hand more than usual with some digital manipulation. In particular, I've taken the time to imply that the piece was painted long ago. Additionally, I've used a bit of digital wizardry to emphasize the light from above, though that image of a beam of light is, in fact, part of the original photo, too, in the form of some cut out craft foam. This piece was a joy to create, and wouldn't have been possible without the wise input and guidance of the good people of Spark and Echo. I sincerely hope it does Amos proud. Spark Notes The Artist's Reflection Marty Allen is a producer, writer, visual artist, performer, teacher, and musician. An idea man, a jack-of-all-trades, a local kook. All of which often rolls into the proud and ancient role of storyteller. Marty is best known for making up The Sock Puppet Portraits, writing the related book, "Sock Puppet Madness," and for performing with rock band/art collective/giant monster/sock puppet, Uncle Monsterface. It's true, he does lots of other stuff, too, including (but not limited to) making really excellent sandwiches, writing artist bios in the third person, and walking his dog. As an inter-disciplinary artist and creator, much of Marty’s work has a little story behind it. In his mind, he seems to have built a giant world of stories that has co-evolved with his art and ideas using whatever medium(s) seemed appropriate or inspiring at the time. Marty is fascinated by using characters, storytelling, narrative, world-building, and creativity itself as a metaphor and method for making sense of this crazy world we live in. Moreover, Marty is chasing a sense of wonder and moments of real and honest connection. Wonderful connection. To you, to himself, to the universe, to all of the stuff. Marty has had four published non-fiction books (with a fifth coming in 2018!), writes a lot of stuff about pop culture on the internet, sings to babies, plays poker, and has worked with cool folks like Nickelodeon, The Henson Foundation, Barnes & Noble, Fab.com, Maker Faire, ZocDoc, many others, and mostly himself, running his own business of art sales for over a decade. Among other things, Marty is currently working on a book that ties many of the smaller stories and artworks into their larger context, ‘Theodore and the Seven Layers of Space.’ He hopes that it’s gonna be good. He lives in Brooklyn, if you’re ever around, come say, “Howdy.” Website Marty Allen About the Artist Marty Allen Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

aaron-beaumont-air-post-3-feat.jpg Loading Video . . . If Bible stories were categorized by the same hyper-specific algorithms as Netflix content, the genre I’d find myself perusing most would be “Psychedelia Featuring a Strong Animal Lead.” My very first Spark & Echo project last year explored one such story from Acts 10, where Peter’s mad zoologic hallucination spurs him on a crazy but ultimately fruitful quest. Find the complete progression of the work linked below. Daniel 4 Artist in Residence 2017: Aaron Beaumont - Part 1 By Aaron Beaumont Credits: Curated by: Spark & Echo Arts, Artist in Residence 2017 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link March 20, 2017 If Bible stories were categorized by the same hyper-specific algorithms as Netflix content, the genre I’d find myself perusing most would be “Psychedelia Featuring a Strong Animal Lead.” My very first Spark & Echo project last year explored one such story from Acts 10, where Peter’s mad zoologic hallucination spurs him on a crazy but ultimately fruitful quest. Such stories exist in a liminal space, between the possible and impossible, blurring the line between natural and supernatural, historical and mythical, inspired and insane. Daniel 4 ticks all these boxes for me. In fact, it one-ups Acts 10 by featuring not only animals and visions, but also a lengthy bout of bonafide madness. It’s a rich, complicated passage, and as such, I’ve started clarifying my ideas with a lot of free writing. I’ve always been attracted to stories that challenge the binary nature and tidy knowability of reality; the polarities in Daniel 4 that have emerged so far as ripe for exploration include: Animal-human. Specifically, exploring the relationship between the divine and humans via animals, and the conception of nature as wise, possessing a subconscious, cellular, instinctive wisdom acquired over the eons. God-human. The blessing of not having to be gods. Nebuchadnezzar relieved of his duty to play God, perhaps a relief in the truest sense. Reality-fantasy; genius-madness; exalted-debased. The conception of genius as madness plus success, that the tails of the bell curve wrap around and spill into each other like east to west, that the ends are more closely related to each other than they are to the middle. The history of people of questionable sanity exerting their will on reality, and bending it to conform with their conception of it. Wilderness-civilization. Bliss and oblivion versus sapience and acuity. The tree of knowledge of good and evil. Tyrant-benevolent ruler. Daniel 4 presents challenging notions of hubris, tyranny, and authoritarianism. Dismissing Nebuchadnezzar as wholly a tyrant ignores his role as provider and protector (the tree in his vision) and the high esteem in which Daniel, one of the Bible’s great heroes, holds him. The next phase of my project is arguably the most important: selection. Over the next few months, I plan to evaluate material from my freewrites, scrap the bad ideas, and distill any worthy ones (and hopefully there are a few!) into a lyric. I’ve also compiled a playlist (from which a small selection appears below) to serve as a reference for song structure, palette, or tone. Daniel 4 offers a potpourri of moods, including the epic, regal, supernatural, primal, psychedelic, tender, and mad. As such, my playlist features a colorful range of genres and eras - I’m excited by the challenge of discovering a sonic space in the middle of this disparate cloud of references, and hope to capture some of the complex flavor of Daniel 4 in my final work. Spark & Echo AIR Playlist - Aaron Beaumont (Click to Open in Apple Music) David Axelrod - The Mental Traveller Scott Walker - The Seventh Seal Scott Walker - It’s Raining Today Sufjan Stevens - Impossible Soul The Innocence Mission - Beautiful Change Odesza - Kusanagi Flying Lotus - Zodiac S**t Flying Lotus - Do the Astral Plane M83 - Soon, My Love The Album Leaf - Window Lana Del Rey - Ride Amon Tobin - Kitty Cat Clams Casino ft. Kelela - A Breath Away Arcade Fire ft. Mavis Staples - I Give You Power Nino Roto - The Great Mouna Nino Roto - L’uccello Magico Grimes - Laughing and Not Being Normal I’m eager to share whatever emerges during the next few months as I grapple with this challenging text. While I’m not sure where my exploration will lead, one thing is certain - with such a rich subject in front of me, it will be a long time before I move on to RomComs of the Bible. Spark Notes The Artist's Reflection Aaron Beaumont has toured the U.S. and Europe as a pianist and songwriter and been invited to share his work in wide-ranging venues from the Sziget Festival in Budapest to KCRW Santa Monica to the Tribeca Film Festival to off-Broadway Theatre 80 in the East Village to the main stage of the West Hollywood Carnaval. L.A. Weekly wrote that Aaron's music brings "a new life to the ancient music-hall/pop piano-man tradition, with clear-headed songs of genuinely witty lyrical oomph and, most of all, a historically informed musical depth – all delivered with style, grace, wit and elan, of course." Aaron wrote one song, arranged two others, and served as a piano performance coach for the feature Permission (Rebecca Hall, Dan Stevens, Jason Sudeikis, 2017 Tribeca Film Festival), which premieres worldwide February 2018. He also contributed two songs to the forthcoming series Dan is Dead (Drake Bell, Maker Studios) and two songs to the indie feature film Alex & Jaime (2017 Roxbury International Film Festival). Aaron contributed an original co-write (“17”) and several arrangements to Gil McKinney’s 2017 debut album, How Was I to Know, which reached #1 on the iTunes jazz chart and #8 on the Billboard jazz chart. He also co-wrote “Good Love” for Briana Buckmaster’s 2018 debut album (#1 iTunes blues, #3 Billboard blues). Other recent TV and film placements include original songs written for Cedar Cove (Andie McDowell) and Where Hope Grows (Billy Zabka, Danica McKellar; Dallas Film Festival, Roadside Attractions). Aaron has composed original scores for films and theatrical productions, including All the Lovely Wayside Things; Tall, Dark, and Handsome; Heart; Until We Have Faces; Shrew; The Fire Room; the Breakfast Show with Adam O; Companion; and Beyond Imagination, winning best score and sound design at the Hollywood Fringe Festival for his work on Fugitive Kind’s production of The Fire Room by Ovation Award-winning playwright Meghan Brown. In 2016, Aaron wrote a commissioned work for the Spark & Echo Arts project, and in 2017 Aaron created a larger scale work as an Artist in Residence. Aaron also works as an in-house arranger, producer, composer, and mix engineer for the Gregory Brothers / Schmoyoho, whose original music has earned them a gold and platinum record and nearly one billion views on YouTube, along with myriad collaborations on other platforms. Recent Gregory Brothers collabs include the Justice League film (ft. Gary Clark Jr.), Weird Al Yankovic, Debbie Harry and Chris Stein of Blondie, Joseph Gordon-Levitt, Bassnectar, Alex Wassabi, LaurDIY, Markiplier, Slow Mo Guys, Todrick Hall, J. Fla, The Resident (Fox Network), and the International Olympic Channel. Songs Aaron has worked on with the Gregory Brothers have received over 175 million plays on YouTube. In 2015, Aaron participated in the Ultraviolet Music and Arts Festival in Los Angeles as a featured artist and presenter, and performed with his band The Mots Nouveaux for the 2015, 2016, 2017, and 2018 Rockwood Music Festival in Frankfurt, Germany. Aaron wrote the music and lyrics to the original musical, Behind Closed Doors, which sold out every performance at the historic Hayworth Theater, received multiple Broadway World L.A. Award nominations, and played for thousands of festival goers on the main stage of the West Hollywood Carnaval. Behind Closed Doors was selected to participate in the New York International Fringe Festival as a national show, enjoying a mostly oversold run at off-Broadway Theatre 80 in the East Village. Aaron was selected as a finalist as a composer and lyricist for the Fred Ebb Foundation / Roundabout Theatre Company Fred Ebb Award for musical theater songwriters, and received the Hal Gaba Scholarship for Excellence in Lyrics from UCLA/Concord Records. Aaron is currently developing new musicals with playwrights Meghan Brown, Andrew Crabtree, Peter Berube, and Cassandra Christensen, and a one-woman show with soprano Lorelei Zarifian. Lorelei and Aaron’s first musical triptych, Midtown Antoinette, was featured on NPR-affiliate WFIT in March 2016 and debuted as part of the Florida Tech / Foosaner Museum French Film Festival. Aaron also occasionally helps produce the outrageous bingo raves phenomenon, Rebel Bingo, in New York and Los Angeles, as featured in the L.A. Times, Guardian, and BBC , and recently played a run of five capacity shows in the downtown L.A.’s Globe Theatre as part of 2016 Night on Broadway. Aaron has collaborated as pianist, musical director, and/or co-writer with a panoply of music buddies, including Jason Manns, Gil McKinney, Sara Niemietz, Tim Omundsen, Dave Yaden, Nicholas Zork, Aaron Roche, Nick Bearden, Emma Fitzpatrick, Amanda Wallace, Shane Alexander, Ben Jaffe, Brett Young, Courtney Bassett, Eden Malyn, Luis Selgas, Aly French, Sam Heldt, Karma Jenkins, Emily Iaquinta, Lynette Williams, Meshach Jackson, Roy Mitchell-Cardenas, Kamasi Washington, Chad Doreck, J.T. Spangler, and Katrina Parker. He claimed several distinctions as a young classical pianist, including two-time Wisconsin Academy Musician of the Year, Andrews University Concerto Competition Finalist, and the British Royal Conservatory of Music Award of Highest Distinction for Piano Performance at the Newbold Creative Arts Festival. He currently serves as co-chair of the Carnegie Hill Concert Series in New York, featuring leading interpreters of classical and New Music from around the globe. In 2015, Aaron founded SongLab, an online songwriting community for emerging songwriters. The inaugural SongLab Series welcomed GRAMMY-winner Dave Yaden as special guest. In addition to working with other artists, Aaron performs as one-third of the pop trio, The Mots Nouveaux, alongside vocalists Emma Fitzpatrick and Amanda Wallace. The band celebrated their latest album release with a residency at Hotel Café, a six-month residency at the Montage Hotel in Beverly Hills, and residencies at Rockwood Music Hall and Sidewalk Café in New York. They were invited to join the lineup for the Broke L.A. Music Festival in downtown Los Angeles, where Lyynks music hailed their set as the “greatest revelation” of the festival, one that “really thrilled the crowd” of thousands at the Lounge Stage (GroundSounds.com). The Mots Nouveaux recorded a new EP in Spring 2017 with co-producer Peter Barbee / Among Savages, with forthcoming tracks slated for 2018 release. Aaron released his debut solo project, Nothing's Forever (Not Even Goodbye), featuring the first ten songs he wrote, on Milan Records (Warner-Ryko) in 2008. In his spare time, Aaron enjoys playing the piano, traveling, eating, writing songs, making coffee, drinking coffee, collecting records, going for brisk walks, being near coffee, and composing extensive autobiographical sketches in the third person. Website Aaron Beaumont About the Artist Artist in Residence 2017: Aaron Beaumont - Part 3 Artist in Residence 2017: Aaron Beaumont - Part 2 Lightness of the Pines Artist in Residence 2017: Aaron Beaumont Narwhal and Ocelot (Dietary Restrictions) Aaron Beaumont Other Works By Follow the development of Aaron's project by continuing to read his prior second , third and final posts written as 2017 Artist in Residence project. 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joe-schiavone-viewing.jpg Detail-4-588.jpeg Detail-1-588.jpeg Detail-2-588.jpeg Detail-3-588.jpeg Loading Video . . . Artist Joe Schiavone explores the theme of eavesdropping as it relates to God's omnipotence in Malachi 3:13-18. Malachi 3:13-18 Untitled (Schiavone) By Joe Schiavone Credits: Artist Location: Brooklyn, New York Curated by: Rebekah Kim 2014 24 x 36 inches Mixed Media Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link I selected a passage from the book of Malachi (3:13-18), in which the omnipotence of God often resembles eavesdropping. Here we're reminded that our covenants with God must be upheld with sincerity as our true feelings and intentions are always visible. My work uses medical illustration and photography to describe the types of seeing, listening and judging present throughout Malachi. Spark Notes The Artist's Reflection Joe Schiavone earned a B.F.A from the School of Visual Arts in 2009. He lives in Brooklyn and works as a bookseller. Website Joe Schiavone About the Artist Joe Schiavone Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Erin Mulvehill Psalm42 3 Loading Video . . . Photographer Erin Mulvehill uniquely considers our Summer 2012 theme, "Water," in response to Psalm 42:3. Erin's work aims to explore the human connections and subtle nuances that whisper into the ear of our every day. We are captivated by the ethereal, tragic implication of Erin's photography, especially in her "to be reborn" series (2012), with its perplexing yet warm imagery. Psalms 42:3 Untitled (Mulvehill) By Erin Mulvehill Credits: Curated by: Charis J Carmichael Braun 2012 24 x 30 inches Film Photography Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link i found this passage very philosophical, which drew me to it immediately. in my visual depiction of the piece i chose to show a blindfolded girl with her arms reaching toward the skies. this gesture can be one of praise and thanksgiving, yet it can also be one of frustration or defeat. I like the ambiguity of this gesture, as I feel the quote itself is somewhat ambiguous in that it has the ability to read quite differently based on one's personal beliefs. Spark Notes The Artist's Reflection erin mulvehill is an artist and photographer currently living in brooklyn new york. she is the founder of ‘the camera project’ ( thecameraproject.com ) and is currently represented by the candela project gallery in munich germany ( candela-project.com ). More of Erin’s beautiful work can be viewed online at icanfreezetime.com Website Erin Mulvehill About the Artist Erin Mulvehill Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . Artist Nicora Gangi explores the journey of redemption of Rahab in this mixed media piece responding to Joshua 6:22-24 in the first work of her three-part series: When the Lord Gives Us the Land. Joshua 6:22-24 So Shall Your Descendants Be By Nicora Gangi Credits: Curated by: Spark+Echo Arts 2023 Paper Collage Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Two spies, sent by Joshua, found protection in the home of Rahab. Before they left the city to return to the Israelite camp, a request for deliverance was made by Rahab and granted with an oath by these two men. This image depicts a great number of Israelites coming towards Jericho. The stars represent the multiplication of Jacob’s family who were reclaiming their God-promised territory. In the front of this vast warring company are the two spies who were told by Joshua to keep their oath to Rahab and bring her and all that belongs to her out of Jericho. In the hill below them are images of the destruction of the city in addition to Rahab and her family carrying all their belongings on their heads, leaving the ruin of Jericho behind. The red cord that she tied to her window gave the visual aid to the spies to identify her home on the city’s wall. In the image, this red cord is seen—like a tear—coming out of the subtle image of a lion’s eye. Rehab eventually married into the tribe of Judah and became a part of the line of Jesus according to Matthew 1:1-5 . 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 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 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 To see the other panels from Nicora's work, click the links below: The Mountain of the House of The Lord I See Him but Not Now To see the triptych, click the link below: When the Lord Gives Us The Land Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

heavens-declare-tibay-01.jpg Heavens Declare, Detail 1 Heavens Declare, Detail 2 Heavens Declare, Detail 3 Heavens Declare, Detail 4 Loading Video . . . Artist Job Tibay grounds his art in his Filipino roots and finding beauty in the imperfect as he marvels at the glory of God in Psalm 19:1-6. Psalms 19:1-6 Heavens Declare By Job Tibay Credits: Curated by: Rebecca Testrake 2016 35 x 25 inches Oil on Sinamay Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link We live in such an imperfect world. Yet, even in the midst of chaos, flaws and disorder, one can always find or create something beautiful and divine. Beauty drawn from imperfection captivates me. There is something mysterious and inspiring about it. This is one of the reasons I love working on sinamay . Unlike your typical canvas, sinamay is handwoven from the processed stalks of the abaca tree . The varying widths of each strand, the knots in random spots, and the loose open weave, give it a rough, uneven, sifter-like surface. These characteristics make each piece respond differently even to the same touch and technique. Yet, these nuances and seeming imperfections make the creative process an exciting journey and experience. Sometimes it absorbs, other times it pushes back, generating a level of unpredictability that stimulates a conversation along the creative journey. My choice to work with sinamay is also a representation of my roots. Sinamay is made of abaca fiber, an eco-friendly material, woven from the stalks of the abaca tree. The abaca tree is a banana palm native to the Philippines, where I was born and spent a quarter of my life. With every artwork on sinamay, I feel as though I am exploring new grounds without ever losing touch with the place I first called home. The concept behind this artwork is simply about His glory and majesty being revealed in the grandeur and beauty of the heavens and the skies. It always leaves me in awe when I marvel at breathtaking views of the skies, the movement of the clouds, and the sun shining through it. Spark Notes The Artist's Reflection Job Tibay is a New York City-based Filipino artist, who moved from Manila to New York in the summer of 2005. Entirely self- taught, he discovered his love and skill for painting shortly after college, when he decided to create several paintings (watercolor and pastel on paper) to replace all the existing wall art decor at his parents’ house, matching the new color scheme after a renovation project. However, it was not until after living in New York for almost 7 years that he started to pursue his love for painting. Living abroad inspired him to find a substrate that would best represent his heritage and style. In his desire to stay connected and true to his roots, he has chosen to work on sinamay instead of canvas. Website : www.jobtibay.com Facebook : www.facebook.com/artbyjob/ Instagram : www.instagram.com/artbyjob/ Website Job Tibay About the Artist Job Tibay Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . Composer and guitarist Lily Maase explores the theme of healing in her beautiful and personal work responding to Daniel 10:8-19. Daniel 10:8-19 Look Out Below By Lily Maase Credits: Composed and Performed By Lily Maase. 2014 Curated by: Spark & Echo Arts, Self-Submitted 2014 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link One afternoon in 2009 I was walking home from a yoga class in the Flatiron District in Midtown Manhattan when I briefly had the most curious sense of myself…I flashed upon a brief awareness of where I had been in the morning, where I was at the moment, and where I was about to be in the evening, ALL AT THE SAME TIME. It was as if I had been lifted out of my body and was viewing where I had been, where I was, and where I was headed from an aerial standpoint, like a line drawn on a map. By the time I made it home, I was aware of a consciousness in my body that was not my own -- whose presence was so palpable as to be almost violent. I spent the next 10 hours on the floor of my apartment, shaking, as if something had been ripped from within the deepest parts of me. In a lot of ways, something had. A lot of people talk about putting their life in God’s hands. That night, for whatever reason, God reached out and grabbed me, shook me until I almost broke, and saved my life. The next morning I took myself to the hospital, and a week later I returned to my father’s home in New Mexico and was diagnosed with post-traumatic stress disorder. The events in my early life that led to the sort of ‘fracture’ between my childhood spirit and my adult body are of little interest and far better left in the past. But for me, the diagnosis was not so much an answer to a question as it was the beginning of an arc, and I can say with certainty at this point that, had my life not been so radically altered by a force beyond myself, continuing to run away from that diagnosis would have killed me. Many things have happened since then and I would have hated to miss any of them, both the good and the bad. So I am profoundly happy to have been offered a new lease on life. I have lost more friends, family and lovers to substance abuse and suicide than I can count on my fingers and toes and wondered every time why I was somehow spared. Through learning to let go of my own obsession with my past I have learned to truly value the friends and family I still have, and have slowly learned to let go of people that are attracted to THAT part of me, the deep-down bit, that never quite seems to heal. I have always considered myself blessed. And after a while I developed a sense that I was as healed as I was going to be, despite some glaring inefficiencies in my life, and some things I had been trying to make happen that simply wouldn’t budge. I took this commission almost on a whim nearly 18 months ago, and when I was assigned “healing” as a theme I had a sense that I might write something that was a sort of sideways nod to my life as an adult learning to live with a trauma disorder, or some oblique reference to my unpleasant childhood, and that would be that. I let the idea percolate for a bit, and went on about the business of trying to make a living writing music and playing the guitar. And then… Eight months ago, I was driving home from a rehearsal and was stopped at a red light when I became aware of a familiar presence beside me in the van. Unknown to me at the time, three blocks behind me a carjacker had just stolen a vehicle at gunpoint and was speeding in excess of 70mph an hour down Bedford Avenue, trying to flee the scene. Two seconds later I was involved in a rear-end collision that totaled seven vehicles, dislocated my hips and one shoulder, and broke the necks of the two people who were in the car directly behind me. I survived, I might not have, and since that moment I have had an awareness of a powerful force at work both within my body and in my life. The sense I have of it is, I had begun to think I was “healed enough.” My life was sufficiently positive and proactive for a person living with my condition, and I had learned to live and be content with the things in my life that just weren’t quite right. I was Doing Okay, and that was fine by me, so I had stopped working on myself. So once again, I was grabbed. And I was shaken. Here’s the thing about PTSD. It lives in your body, like a parasite. And, like a parasite, you sort of get used to it and it becomes a sort of familiar companion. An old friend. So, if you want to get rid of it, you have to go into your body and find it and encourage it to let you go. You don’t let IT go. Because having PTSD is like being possessed. And when you are strong enough to let it, little by little IT lets go of YOU. The accident completely changed my plans for the future, because it forced me immediately and irrevocably out of denial and back into my body. It completely changed my concept of myself as a person who HAD healed, into a person who HAD TO heal. In order to recover from the dislocated hip, the tear in my shoulder that has left my left arm with an uncontrollable tremor, the whiplash, the herniated discs–in order to get my life back, I have had to reach into my spirit and my body and come up with the courage to heal from ALL of it. It’s been terrifying. But I know I can do it. Because God set this arc in motion five years ago, and I know in my bones He did it because this is something I can do. Looking back, I can see now that a lot of my creative work leading up to that first event had a lot to do with my body trying to reconcile what it had been through with my spirit’s sense of who I was. So I fall in and out of love with playing it, which I know is difficult at times for the people who have agreed to play it with me. It’s pretty wild music! And I’m proud of all of it. But this is the first and most likely the only time I will write directly about trauma and recovery–and the way that God found me, knocked me down, and gave me a chance to do the necessary work to rebuild myself into the person He and I both believe I will one day be. “Look Out Below” is a reflection on a passage from the Book of Daniel, on the idea of being filled with the violence of the presence of the Lord, and on the idea that our ascent to perfection might best be started by being knocked down onto our knees. Many thanks to Gil Selinger for providing the image that inspired the conceptual material, to JP Gilbert and Scott Holland for the original inspiration for the music itself, and to Jeff Cook for realizing the recording almost exactly they way it had been swimming around in my head. You have all been amazing teachers and I am blessed to learn from each of you. Spark Notes The Artist's Reflection Lily Maase is a rock, country, jazz and classical guitarist raised in New Mexico, educated at the University of North Texas, and living in Brooklyn, New York. She is contributing writer for Premier Guitar Magazine and has contributed to Guitar World and Guitar World’s Acoustic Nation, who recently lauded her as a “master guitar teacher.” She is the founder and owner of Brooklyn GuitarWorks, a workshop-oriented center for guitar and bass guitar education located in Williamsburg. Lily is the lead guitarist, musical director and bandleader with the Rocket Queens all-female tribute to Guns N Roses and the Suite Unraveling (Tzadik). She is the lead guitarist with Gato Loco, and is endorsed by Godin Guitars. Her playing has been featured by Vans.com, Maxim.com, Guitar World’s Acoustic Nation, Teen Vogue, and Elle Magazine. Website Lily Maase About the Artist Artist in Residence 2017: Lily Maase Part 1 Artist in Residence 2017: Lily Maase Part 2 Artist in Residence 2017: Lily Maase Part 3 Artist in Residence 2017: Lily Maase Lily Maase Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Nicora Gangi Revelation7 2 With West Hands Smaller Loading Video . . . This dramatic piece by Nicora Gangi reflects upon God's decision to wait in Revelation 7:1-3. Revelation 7:1-3 The Sealed Ones By Nicora Gangi Credits: Curated by: Spark+Echo Arts 2022 11 x 14 inches Paper and digital collage Mixed Media Collage Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link This image represents the pending storm of judgment, and for a moment there is this calm. These angels—seen in the image as four sets of hands—are standing on the four corners of the earth, holding back the winds of destruction. The set of hands towards the bottom of the image are largest due to the fact I have set our vantage point in the West viewing this scene. John sees an angel ascending from the East. Like the mighty angels in Revelation 5:2 and Revelation 10:1 , this angel calls forth in a mighty voice. The command of God to the four angels is "WAIT!" 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 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 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