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Loading Video . . . Theater artist and poet Edward Bauer explores a unique interaction of family and deity in response John 12:1-11 and the theme of “meals.” John 12:1-11 Family Dinner By Edward Bauer Credits: Artist Location: Brooklyn, New York Curated by: Lauren Ferebee 2014 Poetry Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link I’m not chiefly a writer. I’m a good liberal arts student with at least a passing acquaintance with the skill, and the work of my theater company does often involve writing scenes and monologues, but at the end of the day I am an actor. As such, when I was first approached with the opportunity to create a piece for Spark & Echo, I considered the dramatic possibilities. As it turned out, though, there was no theatrical concept that sparked my interest. At least, not overtly. I grew up in a progressive protestant (United Church of Christ) household in Maine, and when I was in elementary school my mother began a seminary education. The timing was such that during the formative years in which I was interested enough to start paying actual attention to what was going on in our church services, I also had access to a parent who was making it her life’s work not only to study the Bible deeply, but to learn how to communicate its stories most truthfully and effectively as a minister. I’ll admit that I don’t attend church regularly these days — I dislike the word “agnostic,” but occasionally refer to myself as a “spiritual humanist” — but I’ve never lost my interest in the Bible as a fascinating story, or in the act of performing a ministry. As a result, the piece I’ve submitted to Spark & Echo is a kind of hodgepodge of poem, monologue, and homily, in a form not entirely unlike something my mother might have written over the years. My interest in the Gospels is rooted in a decidedly “low Christology”, and the theme of “meals” felt like a natural venue for exploring that. Martha, Mary, and Lazarus have always fascinated me because of their simplicity and humanity, and because their stories tend to bring out shades of the same in Jesus. This is a family that dines, loves, learns, and bickers together, and that is in the fascinating position of seeing Christ as — well, among other things — a friend, in a way that few others do. And yet, especially in the case of Lazarus, this friendship brings them to the very brink of the unknowable vastness of God. How does an average person deal with that, and then sit down to Sunday dinner as if everything is normal? I’m not sure. Here’s an idea, though. Spark Notes The Artist's Reflection Edward Bauer is an actor and theater artist currently residing in Brooklyn, NY, where he is one of four Co-Artistic Directors of the Assembly Theater Company. The Assembly is dedicated to producing rigorously researched and socially relevant theater created by an ensemble. The company's work has been produced as part of the Ice Factory, Undergroundzero, and CUNY Prelude festivals, as well as having been performed at The Incubator, The Collapsable Hole, HERE Arts Center, the Wesleyan University Center for the Arts, and the historic Living Theater. Edward can next be seen as Pip in The Assembly's “That Poor Dream," a play inspired by Dickens' “Great Expectations," this October at the New Ohio Theater. www.theassemblytheater.com Website Edward Bauer About the Artist Edward Bauer Other Works By Related Information View More Art Make More Art In the beginning there was Okay, no, I'm not‚ I'm still okay. View Full Written Work A Family Dinner in Five Parts by Edward Bauer Inspired by John 12:1-11 I. In the beginning there was Okay, no, I’m not – I’m still okay. I am. But you’ll need to trust me when I say that I can’t say just yet just what is actually the word for what what is the word I am. I suppose I know that much, at this point. II. Ever since it happened, some feeling comes and goes. Fingers, arms, feet, tongue occasionally. Quick and unexpected, a wave of no sensation at all. I’ve been practicing, in the moment when a limb falls away – well, no, but, seems to – an act of grace, or action at least, of gracefully keeping some semblance of some balance. After all, why concern everyone? This is supposed to be a nice night. III. My sister is furiously focused on an uncompromising pan, the second thus far to fail her in her desperate attempt at gravy. Her whisk, erratic, worries the powdery lump of brownish-grey, still-visible flecks of flour match her whitening knuckles, and I can’t tell if I should tell her that we don’t need it. Everything will be fine without it. Plus that I think she needs to take the carrots out of the oven. I do not tell her anything, and of course she knows it’s time for the carrots. They come forth piping, wisps of fragrant steam redolent of I don’t actually know. She knows. She repairs them to their casserole dish and relegates her traitor saucepan to the sink bitterly. She says she just wanted dinner to be special. I know that I’m putting a hand on her shoulder. IV. They’re fighting. I’ve only ever spoken to him a handful of times, but I’ve seen him. I’ve seen the way he watches Him so closely, quietly, fully. It could be tender if it were. My other sister gave Him something. A gift, extravagant. She made it. She is radiant in her pride. And so he’s furious with her, with Him. I’ve always wanted to be the guy with the easy disposition, the effortless charm, the quiet sort of steel. A guy who needs only say, Guys. Come on. Come on, guys. And febrile tension gives way to a relenting sigh, a sigh to sheepish laughter, the laughter to contrition. Slaps on the back. Apologies all around. I look up and the moment has passed. They’ve left the room, and she looks caught somehow somewhere between shame at her own inciting and utter elation at her power. I take a tasteless sip of wine, and nod as a guy I barely know says something or other about politics. V. The fact that neither one of us smokes doesn’t seem to be stopping us. I hate the feeling, honestly, of the tiny blaze, the dry charred heat coating my teeth and filling my nose, wrapping its tendrils around my chest, the sudden rush of blood to my head, when I actually correctly inhale, but it is, at least, a feeling. When He takes his first drag, He coughs. We laugh. We turn up our collars, and it seems to me that I might have heard Him say something. Did you? I ask. No, He says. Just looking at the sunset. I follow His eye to the horizon, and am struck. All of the hues contained therein, if pulled apart, set down, and filed, could reasonably be tucked away in a folder marked: “Colors, Most Wondrous, All Creation.” It is like nothing else. And it seems that it would be lonely to be anything so singular. It’s pretty cold, for April, I say. Close Loading Video . . . In the beginning there was Okay, no, I'm not‚ I'm still okay. Download Full Written Work

Loading Video . . . Poet Darryl Ratcliff wrestles with current injustices and dreams of a life-filled future in response to Ecclesiastes 9:4. Ecclesiastes 9:4 Gardening with Lions By Darryl Ratcliff Credits: Curated by: Lauren Ferebee 2017 Poetry Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link I was struck by the truth of the human condition contained in this passage – we are better humbled and living than proud and dead. I thought about how we often lionize the dead, particularly those who die suddenly or unexpectedly. Through the lens of Black Lives Matter, I was thinking about how we lionize the names of those who have died due to police violence. As much as we should and want to remember these people, we would much rather that we did not have to – that they were indeed still alive. So the metaphor of the garden, the transformation of the dead into fuel for new life and growth – is ultimately a hopeful one. It is an instance where one is joined with all the living. Yet, even as the gardener in the poem contemplates and interrogates whether good things can come from these untimely deaths – he finds himself hoping that he too doesn’t become another dead lion during an interaction with the police. So the title gardening with lions – is in a way to be in communion with the dead – while cultivating new possibilities in our current life. Spark Notes The Artist's Reflection Darryl Ratcliff is an artist and poet based in Dallas, TX and is the founder of the North Texas poetry label Pink Drum . As an artist his work focuses on the topic of cultural equity, and his projects include Ash Studios, Creating Our Future, and Michelada Think Tank. Ratcliff is a recent recipient of artist awards from the Dallas Museum of Art, Nasher Sculpture Center, and the Office of Cultural Affairs, City of Dallas. His project, Ash Studios, was awarded Best Gallery or Art Space by D Magazine in 2016. Website Darryl Ratcliff About the Artist Darryl Ratcliff Other Works By Related Information View More Art Make More Art When one 's hand becomes a shovel thrust into black soil, seeping grave land grub worms between fingers the dirt lining your nails like a black crescent, View Full Written Work Gardening with Lions By Darryl Ratcliff “But he who is joined with all the living has hope, for a living dog is better than a dead lion.” - Ecclesiastes 9:4 1. When one’s hand becomes a shovel thrust into black soil, seeping gravel and grub worms between fingers the dirt lining your nails like a black crescent, a partial eclipse, as you replace what is dead with what is living, laying down seeds like wishes into the night earth 2. I have heard that the dead can make heat that if you place dead leaves, fruit rinds, dead flowers, bits of grass, into a bin the pile will heat up, become flush with fever will burn to the touch, remind the body that we must all return to soil that coal does indeed transform to diamond that the difference between life and death is often a matter of perspective 3. Gregory Gunn, Samuel Dubose, Sandra Bland, Freddie Gray, Natasha McKenna, Walter Scott, Christian Taylor, Michael Brown, Eric Garner, Akai Gurley, Laquan McDonald, Tamir Rice, Yvette Smith, Rekia Boyd, Philando Castille there are so many dead, black, bodies that the earth is boiling, the seeds tremble then plunge deep into the soil, taking root. 4. After working in the garden I harvest flowers and vegetables, loading them into my car, I drive towards home, praying that the red and blue lights are just a mirage a trick of sunset in the city that the officer approaching my vehicle won’t confuse a cucumber for a gun that he can tell by my dirt stained hands that I need no further intimacy with the earth. Close Loading Video . . . When one 's hand becomes a shovel thrust into black soil, seeping grave land grub worms between fingers the dirt lining your nails like a black crescent, Download Full Written Work

geo-of-healing-588x285.jpg Loading Video . . . Director and choreographer Patrice Miller developed this theater/dance piece over the past year in response to 2 Kings 2:21-25 and the theme of "healing". 2 Kings 2:21-25 A Little East of Jordan (The Geography of Healing) By Patrice Miller Credits: Director + Choreographer: Patrice Miller Playwright: Patrice Miller in collaboration with the performers + those who submitted their stories to the project Featuring: Laura Hartle, Stephanie Willing, + Morgan Zipf-Meister Artist Location: New York City Curated by: Lauren Ferebee 2014 Theatre, Dance, + Spoken word Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Commissioned by Spark and Echo Arts, A Little East of Jordan (The Geography of Healing) is inspired by the first works of wonder-worker Elisha, and uses theater, dance, crowd-sourced text, and anthropology to explore the dialogue between our bodies, minds, and space as we consciously undergo change. 2 Kings 2:21-25: “And he went forth unto the spring of the waters, and cast the salt in there, and said, Thus saith the Lord, I have healed these waters, there shall not be from thence any more death or barren (land)” So the waters were healed unto this day, according to the saying of Elisha which he spake. And he went up from thence unto Bethel: and as he was going up by the way, there came forth little children out of the city, and mocked him, and said unto him, Go up, thou bald head; go up, thou bald head. And he turned back, and looked on them, and cursed them in the name of the Lord. And there came forth two she bears out of the wood, and tare forty and two children of them. And he went from thence to mount Carmel, and from thence he returned to Samaria. A Little East of Jordan is the first line of an Emily Dickinson poem. Director’s Note (from the workshop performance) : When Lauren Ferebee approached me about this project, I took the opportunity to challenge myself as a performance maker. Instead of writing alone or seeking a playwright, I opened up the text-creation to a number of people, resulting in a rich diversity of stories and responses. Instead of rehearsing for five days a week for three or four weeks at a time, we performed pieces of this throughout out the year. Instead of giving you a program to rustle through pre-show, I gave you an intention, some salt, and water. I also documented my process in a more precise manner than usual. What I noticed is that it is very hard to create material that feels personal when there are large political happenings constantly streaming across your computer screen, your phone, your eyes in Times Square. And I remembered that the political is personal. That nothing happens in a vacuum. With this in mind, Laura, Stephanie, Morgan and I wove together various pieces to create an honest account of attempting to create when you feel situated in the midst of chaos, of attempting to heal yourself when the world insists on never easing up on you. Read more about Patrice’s process in her blog. Spark Notes The Artist's Reflection Patrice Miller is a director and choreographer whose work has been called “hilarious, provocative” by the Village Voice. Her work has been presented at La Mama, 3-Legged Dog, The Brooklyn Museum, Prelude at the CUNY Graduate Center, Theater Row, The Brick, FRINGENYC and many of the other festivals in NYC, as well as at non-theater spaces including NYC FashionWeek, the 68th Street subway stop, city parks, and art galleries. She was the performance director for 571 Projects, a Chelsea art gallery, where she collaborated with visual artists, including Julie Trembly, to create art-specific performance pieces. She is a member of Untitled Theater Company #61 , where she frequently works with Edward Einhorn and Henry Akona. Patrice is also one half of Tux and Tom Productions, where she collaborates with Chris Chappell. She is also known to have spent some creative time with the Institute of Psychogeographic Adventure, Piper McKenzie, and Justin Maxwell. Some of her favorite directing and choreography credits include In Pieces (a dance adaptation of illustrator Marion Fayolle’s work), The Pig, or Vaclav Havel’s Hunt for a Pig, Elephant Foot Umbrella Stand (for IPA’s Experiment #23b ), Dead Cat Bounce/Money Lab , ELE↓↑TOR, Maggie Cino’s Decompression , and Bunny Lake is Missing . As a performer, Patrice has appeared with Urban Bush Women in their Place Matters: A Look at Displacement , Martha Bower’s Dance Theatre Etcetera in Angels & Accordions , as well as in her own work throughout the past decade. She has appeared in a number of Gemini Collisionworks productions including the American/English premiere of Richard Foreman’s George Bataille’s Bathrobe . Patrice is developing a process that uses theoretical intersections between performance and social science theories, in the hopes of creating work that has aesthetic and social impacts. Her interests include the representation of gender, class, race, religion, and other identity constructions in theater and dance, feminism in performance across cultures, and political performance. And humor. She’s very serious about humor. Artist Statement:When Lauren Ferebee approached me about this project, I took the opportunity to challenge myself as a performance maker. Instead of writing alone or seeking a playwright, I opened up the text-creation to a number of people, resulting in a rich diversity of stories and responses. Instead of rehearsing for five days a week for three or four weeks at a time, we performed pieces of this throughout out the year. Instead of giving you a program to rustle through pre-show, I gave you an intention, some salt, and water.I also documented my process in a more precise manner than usual. What I noticed is that it is very hard to create material that feels personal when there are large political happenings constantly streaming across your computer screen, your phone, your eyes in Times Square. And I remembered that the political is personal. That nothing happens in a vacuum. With this in mind, Laura, Stephanie, Morgan and I wove together various pieces to create an honest account of attempting to create when you feel situated in the midst of chaos, of attempting to heal yourself when the world insists on never easing up on you. Website Patrice Miller About the Artist Patrice Miller Other Works By The development of this piece has been a fascinating; it's a journey that Patrice beautifully documents on this blog . Read the script: A Little East of Jordan (The Geography of Healing) Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . This eerie and yet familiar short story by author Jamey Bradbury responds to the challenging passage of 1 Timothy 2:11-15. 1 Timothy 2:11-15 Terrarium By Jamey Bradbury Credits: Curated by: Jeff Martin 2018 Short Story Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link As meaty and controversial as the verses I chose are, I kept finding myself drawn to the middle sentence: "And Adam was not deceived, but the woman being deceived was in the transgression." The middle part of this passage takes us all the way back to Genesis and the Garden of Eden, and that crucial moment where Eve winds up having history's most notorious fruit snack. This, of course, gets her tossed right out of the garden, along with Adam. I kept coming back to the concept of deception--who was deceived and who wasn't--and transgression, and the idea of working with a limited amount of knowledge. Then, while on a run one day, it occurred to me: What if the deception wasn't a transgression, but an awakening? In Genesis, Adam and Eve are awakened to many things once they defy God's orders--they see they're naked for the first time, they experience shame. Like a lot of women, I feel like Eve gets a pretty raw deal--blamed for the sinfulness of all mankind. In my version of the Eden story, I thought, I'd try and give her a little redemption. This summer, I was lucky enough to spend two weeks in Southeast Alaska in the Baranof Wilderness on an artist's residency. The Baranof Wilderness is its own kind of Eden--a place so lush and fertile that the minute you leave a footprint, the woods instantly seem to go to work re-wilding themselves and covering up your tracks. This would be the Eden for my Adam and Eve, I decided--a mossy island seemingly in the middle of nowhere. Finally, real life wormed its way into the story as I considered the relationship between Eve and Adam--the first one in Eden, put there before his mate, and therefore at least slightly more knowledgeable than her, or so he can claim. Adam's advantage is that Eve doesn't know anything before him, and that's the perfect setup for a gaslighting situation. I started thinking about the ways we're seeing men try to control women as more news comes out around movements like #MeToo , and pretty soon I had a toxic relationship between history's first couple that only ends when my Eve realizes that to make a better world for her own children, she's going to have to destroy the only world she's ever known. Spark Notes The Artist's Reflection Jamey Bradbury is the author of The Wild Inside (William Morrow, 2018). Her short fiction has appeared in Black Warrior Review, Zone 3, and sou'wester . She lives in Anchorage, Alaska, and works for an Alaska Native social services agency. You can learn more at jameybradbury.com . Website Jamey Bradbury About the Artist Jamey Bradbury Other Works By Related Information View More Art Make More Art There are two of them. He came to the island first. He knows it 's an island, he says, because there are borders, a solid edge met by a liquid blue that laps at their naked feet View Full Written Work Close Loading Video . . . There are two of them. He came to the island first. He knows it 's an island, he says, because there are borders, a solid edge met by a liquid blue that laps at their naked feet Download Full Written Work

Loading Video . . . Spark+Echo co-founder Emily Clare Zempel created "Bitter Drink" based on Number 5:11-31, also known as "The Test for an Unfaithful Wife". This passage describes in detail the ceremony that must be followed when a husband suspects his wife of being unfaithful to him without proof, whether she is guilty or not. Numbers 5:11-31 Bitter Drink By Emily Clare Zempel Credits: Music and Lyrics by Emily Clare Zempel Musicians: Emily Clare Zempel, ukulele, voice; Jonathon Roberts, harmonica Mixing by J Scott Hinkley Film by Michael Markham (Kite Monkey Productions) Mastering by Christopher Colbert Location: Clocktower Lofts, Bronx, New York Curated by: Jonathon + Emily 2012 Music Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Emily, on the challenges of this passage: This is such a difficult passage for me, which is why I chose it. At first read it is a strange exercise. It seems degrading to the woman to untie her hair and to force her to drink water mixed with dust from the floor. It also seems cruel and strange that a drink of this dusty water would not harm an innocent wife, but would cause a guilty wife to lose her ability to have children even as it causes her belly to swell as if pregnant. Even after spending time with this passage, it is a hard passage to embrace. I do, however, think I see its purpose now. A jealous husband with no recourse for his wife’s supposed unfaithfulness might harm her as a result of his untamed emotion. This simple exercise will give him the answer he seeks, which could bring some relief to an innocent wife. When writing this song I focused not on the merit of the ritual itself, but on the emotions of the wife that is being brought to it by her husband. I wanted to make this abstract woman into a real, living, breathing creature. As a wife myself, I thought of the trust between married partners, and how an accusation can break that trust as much as infidelity can. I also focused on some of the elements of “hands” and “holding”. She holds the offering and the priest holds the bitter water. The priest loosens her hair, and grabs a handful of grain. The ritual is physical. Spark Notes The Artist's Reflection Emily Clare Zempel (Spark+Echo Arts Co-Founder) is an actor and musician based in Beacon, NY, who received her MFA from Brooklyn College. Favorite credits include Katherine in Love’s Labour’s Lost at Milwaukee Shakespeare, Ophelia in Hamlet at Baltimore Shakespeare Festival, and Wittenberg at Rep Stage, which was nominated for a Helen Hayes Award. She plays bassoon, ukulele, guitar, clarinet, and other assorted toys in Spark & Echo the Band, has co-created the original play Esther with Jonathon Roberts and Chris Cragin, and has a small obsession with running marathons. Website Emily Clare Zempel About the Artist Rivers in the Desert Emily Clare Zempel Other Works By This work 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 . . . Ellen Stedfeld's beautiful spinning piece explores the contrast found in Proverbs 4:18-19. Proverbs 4:18-19 Brightening Path, Stumbling Darkness By Ellen Stedfeld Credits: Curated by: Rebecca Testrake 2016 5″x7″ each Pencil, Marker, Charcoal, Ink, and Oil Pastel on Colored / Textured Paper Mixed Media Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Proverbs 4:18-19 appealed to me with its tangible experiential metaphors - the path of the just/righteous is as a sunrise, and the wicked stumble blindly through darkness. My depiction explores this duality of possibility, a demonstration of opposing options, feelings, and outcomes. Though worded in statements of fact, there is a promise of hope, and a warning of despair. Despite the initial arrangement of the verses, I had to start with the darkness. Layering jagged lines, blotted inks, and shadowy smudges, I filled the space with confusion and agitation, my tools assaulting the page in a frenzied frustration to the point of ripping. During one stage of the process, the thick ink that was supposed to result in a sinkhole of black turned out to contain a silvery glitter. Although this altered the intention, in a twisted way, it made sense. The wrong path can deceptively appear alluring, only thinly masking the sludge that lies below the surface. While I may miss looking at the gathering of brash lines that were there, now hidden underneath, the meaning has become even more fitting. You know not on what you stumble. This murk is now truly inscrutable. Then conversely, we have the path of righteousness, a glow growing gradually brighter. Layered oil pastels and brush pens were applied, for both vibrancy and softness. White is at the center, the brightest place where the road leads to, and as I built the colors around this point it brought to mind how white light actually contains all colors. On the path, I drew implied shapes of people walking, and wanted to show them holding hands. They would be unified, unlike the solitary struggle of wandering the dark. But it was hard to settle on a particular color or form. I kept suggesting without truly defining them, wanting to leave an openness for the viewer to see themselves in it. Intentionally, my image is inviting you to step onto that path. Although the presence of people is not visually obvious, it did affect my approach, as I decided they would do more than hold hands, they would throw up their arms and rejoice! That's where those squiggly lines came in. Much of my other artwork relies on reproduction, but this piece can only be understood properly in person, hinging on its uniquely tactile qualities. There is no glass over the art, just the raw materials exposed. You must see and examine it for yourself, and you must turn it back and forth with your own hands. The choice of frame was very intentional. It reinforces the related reversal of these two paths depicted, and allows the viewer to consider these concepts in either order. In a way, it emphasizes the implicit decision ‚Äì which one will you turn away from, and which path will be yours? Spark Notes The Artist's Reflection Ellen Stedfeld is an artist / illustrator native to New York City. Wearing a holster of brush markers, she often goes exploring around town, and sketches at live events and performances.Interested in overlapping art forms, her influences range from historic masterpieces to classic children's books and contemporary comics. At any given time, she is shaping several stories for original novels or graphic novels. Also working freelance, her projects have included band posters, wedding portraits, a page for a comics newspaper, and award-winning neon animations. Her faith in Jesus deeply shapes her creative practice, whether she is putting the Bible to pictures, weaving themes of unexpected love and forgiveness into a tale, or doodling silly drawings to evoke laughter. Learn more on her website www.EllesaurArts.com Website Ellen Stedfeld About the Artist Ellen Stedfeld Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Joy And Sadness Of Change Amanda Grove Loading Video . . . Illustrator Amanda Grove plays with colors and imagery as she brings together a dichotomy of emotions within her piece reflecting on Ezra 3:11-13. Ezra 3:11-13 The Joy and Sadness of Change By Amanda Grove Credits: Curated by: Rebecca Testrake 2020 Watercolor and pen tools on Adobe Sketch (on iPad pro) with an Apple pencil. Edited in Photoshop Digital Art Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link This passage immediately stood out to me because of the strong visuals it evokes without having to pick apart each verse. I think we can all relate to the emotions described in the passage: The feelings of joy and sadness that change or loss can bring about. There is a sense of nostalgia and loyalty for the places we've come to know as constants in our lives, and when those places are taken away and replaced with something new, we can feel an incredible sense of anger and loss. Even if the change is necessary. When thinking about how to depict these emotions I was drawn to the parallels of the gloominess of rain in early Spring. It can seem monotonous and unnecessary at times, but it brings forth the most beautiful life. I chose to depict these emotions as a torrential rain surrounding the temple to represent the sadness felt by the people, and the bright colorful flowers to represent the joy. And of course the rainbow to represent hope for the future. The temple is caught in the middle of these strong outpourings of grief and glee. The design of the temple was inspired by a model that resides in the Israel museum in Jerusalem. The flowers are all native to Israel. Spark Notes The Artist's Reflection Amanda Grove is an Illustrator/Designer and owner of Golden Grove Paper based in Ashland, OR. She creates greeting cards, vinyl stickers, art prints and more based on her designs. Plants and nature serve as her main forms of inspiration and she uses them to create patterns and shapes in her work. Using traditional tools on a digital platform, she strives to stretch the natural elements of our world to create a surreal and otherworldly interpretation of the things she loves. You can check out more of her work at Golden Grove Shop Website Amanda Grove About the Artist Amanda Grove Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . Focusing on the terms "image" and "subdue," composer Douglas Detrick and motion designer Kyra Odi respond to Genesis 1:27-28 in a collage of video and sound. A work looking at humanity and its role in the natural world, the piece is known as "The Genesis Project." Artists Detrick and Odi were commissioned by Spark and Echo Arts and "The Genesis Project" was premiered on June 20th, 2011 at M-1 Lounge in New York City. Genesis 1:27-28 The Genesis Project By Doug Detrick and Kyra Odi Credits: Film by Kyra Odi Music by Douglas Detrick Artist Location: New York City Curated by: Jonathon 2011 Short Film Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link "The Genesis Project" is a nuanced statement about humanity's role in the world, about time shared with friends, about mundane times we usually forget, and about the costs of the way we live our lives. It came from our personal need to explore and come to terms with what it means when we see ourselves as created in the "image" of God and to have "dominion" over the natural world as it says in Genesis. Douglas Detrick: The project changed significantly of the course of its creation, and the only thing we knew for sure was that we were letting go of control of how the piece would turn out, letting it take shape on its own. Seeing the street scenes that Kyra had filmed encouraged a radical change in how I was hearing the music for the piece. The finished piece was quite different from what we expected, but we still feel it makes an important statement. We can't say that there are any definitive answers offered by the piece, but we do hope that the piece encourages some thought in an ongoing conversation about what our duty is to the natural world. Kyra Odi: We started at something in the beginning which was so so different from what it turned into. All I can say is that I just let go of the need to control the piece and let the subjects (people of the city) guide it as I explored our surrounding environment. Spark Notes The Artist's Reflection Douglas Detrick is a composer and trumpet player who resides in the Bronx, NY and was raised in Portland, Oregon. Equally at home as a performer and a composer, he creates unique music in the worlds of jazz, chamber music, electronic music and improvised music. Douglas holds degrees from the Lawrence Conservatory of Music and University of Oregon. Find out more about Douglas at DouglasDetrick.com Kyra Odi , Graphic + Interactive Communication graduate from Ringling College of Art + Design in Florida, now resides in New York as a freelance designer / animator working at a variety of companies and learning from each diverse experience. Socially inclined, she feeds off the city’s energy which she then does her best to infuse into her personal work. See more from Kyra at KyraOdi.com Kyra Odi Photo: Rasmus Keger Website Doug Detrick and Kyra Odi About the Artist Doug Detrick and Kyra Odi Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

elias-popa_img_4516.jpg Elias-Popa_IMG_4460-768x1152.jpg Elias-Popa_IMG_4487-768x512.jpg Elias-Popa_IMG_4511-768x512.jpg Elias-Popa_IMG_4514-768x512.jpg Elias-Popa_IMG_4515-768x1151.jpg Elias-Popa_IMG_4516-768x512.jpg Elias-Popa_IMG_4520-768x517.jpg Elias-Popa_IMG_4526-768x495.jpg Elias-Popa_IMG_4530-768x512.jpg Loading Video . . . Elias Popa, an installation artist, brings beauty to the broken spaces near his home in response to Acts 2:42-47: Elias Popa, "The Art of Kintsugi and Sacrifices in Sidewalks" Acts 2:42-47 The Art of Kintsugi and Sacrifices in Sidewalks By Elias Popa Credits: Curated by: Michael Markham 2016 Gold Mica Powder, Gesso Medium, Resin Installation Art Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link In reading Acts chapter 2, I was particularly struck by the radical reaction the church had to the outpouring of the Holy Spirit. I spent days thinking over the implications of giving everything away for one another. To be solely dependent upon outside sources, while allowing others to be dependent on your own benevolence. In fact, it reminded in part of the philosophy Wabi-Sabi, focusing on the idea of the temporal and imperfect being handled with beauty and restoration. In the art of Kintsugi, when an object is broken, it is not discarded. Rather it is repaired. The cracks of the object are filled in with Gold. This precious and beautiful material makes new and useful what was once broken and decommissioned, while also embracing the pain of the past. It is both redemptive and humbling. How is the art of Kintsugi reflected in the community built in Acts? How can we build that same community today? What is a visual representation of this "Kintsugi" formed by Christ? I decided to perform Kintsugi on the cracks in New York City. I used Gold, being that it is the most precious materials we know, reflecting the preciousness of blood. Filling in each crack in the sidewalk was a meditative experience. Each crack had a history. Each broken concrete slab was a story of New York City. Slowly, in a subtle and gentle way, the gold began to leak through and repair the brokenness. Each work was a prayer, gently asking for completion of a work that I never saw the start of, and may never see the end of, but still have a hand in pouring out what little gold I have to build the city. It is a beacon of radical self-sacrifice in a society that begs us to find inward meaning. It is allowing what is precious to me to be stepped on in an effort to bring beauty into the world. I focused on the radius of my neighbourhood as a reminder that this work begins in the home. The work of Kintsugi begins in the brokenness of one's own heart. Spark Notes The Artist's Reflection Elias Popa was born April 7, 1987 to Romanian immigrants in California. After traveling between his home in Romania and throughout the United States, he continued his travels into his adulthood by moving to China, traveling Southeast Asia, South America and working with refugees. During his travels around the world, his worldview in art was deeply impacted. “My art expresses the struggle of identity and hope, worship and expressions of life. It explores common world views and challenges them. My work shines a light on the temporal solutions we put in place to replace what we really need deep inside”. As an installation artist, Elias uses conventional materials such as paper, wire, thread, and clothing to evoke a deeper understanding about social structures. His aim is to solidify abstract ideas about the nuances that make up sociological structures. By doing so, he retrains the eye to build a visual literacy again and treats the art as a fundamental language. He also studied dark room photography for 10 years, as well as writes poetry. Through his art, Elias started The Human Rights Network, a non for profit organization aimed at “telling stories that change lives.” The organization aims to build narratives through art that can impact social issues and generate activism. He currently works as a curator and manager of the esteemed Waterfall Mansion and Gallery on the Upper East Side, as well as the founder of the Human Rights Network. He resides on the Upper West Side of Manhattan where he works out of his home. He was the recipient of CFW’s artist vocational intensive, held at Princeton University. He also was selected on an Interfaith and Arts Panel at Columbia University, as well as regular participates in speaking engagements. Website Elias Popa About the Artist Artist in Residence 2018: Elias Popa Part 1 Artist in Residence 2018: Elias Popa Part 2 Artist in Residence 2018: Elias Popa Part 3 Artist in Residence 2018: Elias Popa Elias Popa Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . Theatre artist Timothy Giles explores the movement of Revelation 9:1-6 in the composition of his song, "Abyss." As a piece all on its own these verses are terrifying‚Äìas dark as the Inferno. I tried to work as much of this as possible into this composition‚Äìthe conflict, terror, chaos, and longing. Revelation 9:1-6 Abyss By Timothy Giles Credits: Curated by: 2016 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link My background in music is varied, but the explanation for the way I work on pieces like ‘Abyss’ is best understood through my work as a theatre artist. I have a habit of getting myself in over my head, taking on opportunities that put my skills in the crucible. It’s a habit that delivers varied results, but the best chances to grow. Most of the music I wrote before being asked to compose for my first play has never touched another person’s ears. Even though I knew that the best experiences I often had were having music that I created or performed fit into an experience that went beyond me, whether that was people dancing to a band or seeing physical theatre backed by something I had written. Because I have always experienced music physically. I love music for its ability to seemingly take over my body and I create music from that inspiration. When I went searching for the Bible verse I wanted to use for this project I was of course pulled to this passage, to its intense imagery and action. I wanted the movement inherent in the story to guide the music, and I wanted to do my best to capture the specific vision, dark and chaotic, that the verses created in my head. There’s extreme conflict in these lines: A hell on earth permitted by God whose end is only torture and no absolution, hope and longing for the comfort of death that is never answered, and mercy for some at the expense of others. As a piece all on its own these verses are terrifying–as dark as the Inferno . I tried to work as much of this as possible into this composition–the conflict, terror, chaos, and longing. Each line becomes a piece of a movement in this musical representation. Though this is not my first attempt, I am not a composer of great orchestral music. That has been my crucible for this project. But it was a journey I was glad to take and I hope I have grown from it. Spark Notes The Artist's Reflection Tim Giles is primarily a theatre artist. He serves as the Assistant Director of HUB-BUB in Spartanburg and also works as an actor, composer, sound designer, teacher and whatever else presents itself. As a sound designer and composer he has worked exclusively on new works: the collaborative You Need. Go Search. , Wallop by Charles Cissel, Treasure Island adapted by Jay Briggs, The Reckless Season by Lauren Ferebee, Organic Shrapnel by Charles Cissel, how i learned to become a SUPERHERO by Dennis Flanagan, and Blood Potato by James McManus. Website Timothy Giles About the Artist Timothy Giles Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . American clawhammer banjoist and songwriter Cameron DeWhitt takes a look at yeast in his new piece Leavener. The work is in response to the theme of "meals" and 1 Corinthians 5:7-8. 1 Corinthians 5:7-8 Leavener By Cameron DeWhitt Credits: Written by Cameron DeWhitt; Mixed by Christian Guerrero Curated by: Jonathon Roberts 2014 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Get rid of the old yeast, so that you may be a new unleavened batch-as you really are. For Christ, our Passover lamb, has been sacrificed. Therefore let us keep the Festival, not with the old bread leavened with malice and wickedness, but with the unleavened bread of sincerity and truth. Recently I made the switch from commercial yeast (like, from the packet) to wild Philadelphia yeast. And boy, it's sure made a big difference in my bread. I got my sourdough starter from my neighbors, who got theirs from a friend, so I like to think that all of our loaves and boules and baguettes are related. I had a conversation with my good friend Jon Roberts about baking sourdough and maintaining a starter. Apparently some starters are very fragile; the yeast inside will die if they have any competition for the available sugars. He used to work at Sullivan Street bakery in Hell's Kitchen, and when he'd try to bring home a lump of starter it would start producing acetic acid before he could use it. Once removed from its sheltered existence in one of America's finest bakeries, it couldn't handle the pressure of the real world, and allowed itself to be eaten up and turned to vinegar. So, I'm proud to eat bread with the hearty and worldly yeasts of Kensington, Philadelphia. It's yeast is like it's people: determined to survive, willing to fight, and not deterred by a little pollution or systematic oppression. This is how the Kingdom of Heaven is spread. It's a resilient culture, and it's all around us, waiting to be fed. If your culture is eating itself, and getting sour in all the wrong ways, throw it out, and start a new one. Maybe you need something a little less fragile, a little less pretentious. A culture that won't disintegrate at the first sign of stress. Chances are, you know someone who can help get you started. Special thanks to Christian Guerrero for mixing this song. Spark Notes The Artist's Reflection Cameron DeWhitt is an American clawhammer banjoist and songwriter born in Portland, Oregon. His live show is interactive, with sing-along sections, open discussions about song themes, and storytelling. He new self-titled record is available now on Bandcamp. Cameron’s songs explore themes of love, death, marriage, judgment and forgiveness. His lyrics display a quick, profound wit, enriched throughout with weighty metaphors and literary cross-references. Through personal and biblical stories, he prompts the listener to contemplate the definition of love, the character of God, and the human struggle towards hope and redemption. Cameron has developed a unique, melody-driven banjo style. While fluidly shifting modes and meters, he quotes popular melodies, improvises with other musicians, and makes musical jokes. His songs feature trumpet, string bass, drum set, complex vocal counterpoint and improvised solos. Cameron lives with his wife, Rebecca, in the East Kensington neighborhood of Philadelphia, where he is a part of the Circle of Hope Community. He plays an Ome Jubilee banjo with a Moon bridge and a John Balch goat skin head. Website Cameron DeWhitt About the Artist Fig Tree Cameron DeWhitt Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . Brooklyn Composer Michael Hearst rounds up the local jam band for a hootenanny on injustice and the words of the prophet Habakkuk. Habakkuk 1:1-4 Habakkuk's Hootenanny By Michael Hearst Credits: Composer, guitar, vocals by Michael Hearst Band: The Huffbunnies Artist photo by Franck Bohbot Artist Location: Brooklyn Curated by: 2018 Cinematic Hootenanny Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link While trying to decide which direction to take this project, the minute I read the "Habakkuk's Complaint" verse, I knew! As it turns out, there's a "jam band" on my block in Park Slope, Brooklyn. For the past three years, every Wednesday night a handful of us get together (each week at a different house) and play old-timey music, drink wine, eat snacks, and vent about politics. The verse couldn't have been more fitting or timely. I recorded the band playing the song using two iPhones (to get stereo) and then brought the recording into my studio the next day, over-dubbing a few more instruments and vocal tracks. All along I knew I wanted to end-cap the piece with something more cinematic, turning it into an imaginary section from a movie or modern dance. And there you have it. P.S. I told the band I would use the proceeds to take us all out for dinner : ) Composed, Recorded, Mixed by Michael Hearst Performed by Michael Hearst and The Huffbunnies John Fabricant - vocals Stephen Gerard - banjo, vocals Robert Glasser - guitar, vocals Michael Hearst - guitar, vocals Steve Lewis - ukulele, vocals Nicki Pombier Berger - washboard, vocals Toby Snyder - mandolin, vocals Tom Swafford - fiddle Doyle Warren - vocals Spark Notes The Artist's Reflection Michael Hearst is a composer, multi-instrumentalist, and writer, whose vast output is marked by a fascination with extremely specific themes, and with wanting to learn as much as he can about almost everything. His most recent project is a three-part book series, each book geared toward a different large theme: Unusual Creatures , Extraordinary People , and Curious Constructions . The first book, Unusual Creatures, includes the companion album, Songs For Unusual Creatures , and sections of the book have been made into a PBS Digital series. His previous album, Songs For Ice Cream Trucks has been used by at least 50 ice cream trucks around the world. Hearst has also composed soundtracks for the movies To Be Takei , Magic Camp , The House Of Suh , and The Good Mother among others. Michael Hearst is a founding member of the band One Ring Zero , who have released nine albums, including the literary collaboration As Smart As We Are (The Author Project), featuring lyrics by Paul Auster, Margaret Atwood, Dave Eggers, and Neil Gaiman, among others; Planets , a collection of new compositions to represent the solar system and beyond; and their most recent, The Recipe Project , in which the band has taken recipes from today’s top chefs (Mario Batali, Tom Colicchio, David Chang, etc.), set them to music, and sing them word for word. Hearst has performed and given lectures and workshops at universities, museums, and cultural centers around the world. He has toured with The Magnetic Fields, performed with The Kronos Quartet at Carnegie Hall, and has appeared on such shows as NPR's Fresh Air, A+E's Breakfast With The Arts, and NBC's The Today Show Website Michael Hearst About the Artist Michael Hearst Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work