Loading Video . . . Deep Calls to Deep is a song inspired by Psalm 42. It was commissioned in honor of Rev. Robert Hochmuth's 63 years of ministry, celebrated at Apostles Lutheran in San Jose, CA, on January 29, 2012. This tribute was made possible by Rev. Hochmuth's family. Psalms 42 Deep Calls to Deep By The Spark & Echo Band Credits: Curated by: 2012 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link “Deep Calls to Deep” is a song inspired by Psalm 42. It was commissioned in honor of Rev. Robert Hochmuth’s 63 years of ministry, celebrated at Apostles Lutheran in San Jose, CA, on January 29, 2012. This tribute was made possible by Rev. Hochmuth’s family. Spark Notes The Artist's Reflection The Spark & Echo Band is a family outfit of songwriting-storytellers led by husband and wife duo Jonathon Roberts and Emily Clare Zempel. Their music brings forgotten poetry and wild stories from the Bible to life: visions of sparkling wheels in the sky, hunger and thirst, and legends of love as strong as death weave with memorable melodies and captivating rhythms. Drawing from a classical background, influenced by the pianism of Rufus Wainwright and Ben Folds, and emulating Paul Simon’s narratival techniques, Spark & Echo sings epic tales of love and adventure. The duo has collaborated on three full lengths albums (Spark&Echo, Inheritance, Cities Project), one video album (In the Clocktower), in addition to many theatrical collaborations, this very nonprofit, and two children. They live in beautiful Beacon, New York, with all of the above. Website The Spark & Echo Band About the Artist White Robe What a Day Yo Sé Do You Love Me? Where Can I Go? How to Be Free Flesh Lifeblood Artist in Residence 2015: Spark & Echo Band Take to Heart The Wheels Frogs Ruined Inheritance The Spark & Echo Band 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 unplugged piece by singer-songwriter Andrew Rose Gregory laments a stubborn fidelity to poor choices and unhealthy habits in response to Obadiah 1:1-5. Obadiah 1:1-5 The Dream That We Made By Andrew Rose Gregory Credits: Composed, Guitar, Vocals by Andrew Rose Gregory Recorded, Mixed by Andrew Rose Gregory Curated by: Sarah Gregory + Rebecca Testrake 2018 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Each of us lives on the edge of disaster. Reading the beginning of Obadiah is staring straight into the catastrophe that pride, hubris, and jealousy can wreak upon your life. Spark Notes The Artist's Reflection Andrew Rose Gregory is a songwriter based in Brooklyn, New York. He is best known as one of The Gregory Brothers, the creators of the viral YouTube sensations 'Auto-Tune the News' and 'Songify This!' Their videos have over 1 Billion views on YouTube. He has also released four solo records and two EPs. He is currently in studio finishing his next solo album, 'Orion,' his first full length since 2011. Website Andrew Rose Gregory About the Artist Andrew Rose Gregory Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . 2016 Artist in Residence, Ebitenyefa Baralaye, reflects on the subject of unity as it relates to Romans 9, his process as an artist, and the identity that believers hold in his fourth and final post. Romans 9:20-26 Artist in Residence 2016: Ebitenyefa Baralaye – "Bam Bam" By Ebitenyefa Baralaye Credits: Curated by: Spark & Echo Arts, Artist in Residence 2016 2016 Ceramics Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link This post concludes my residency and comes at a time when I and so many are considering the need for unity in our culture. For Christians, the understanding of unity resonates deeply in the acknowledgement and dependence on God's sovereignty in election. Not election of a political nature, but His election of those imperfect vessels (ourselves) He has made to be His sons and daughters, His people and the instruments of His glorious work of kingdom building. As an artist, I constantly orient the worth and purpose of the things that I make according to the values and intentions I choose. The freedom and power in this is in being able to make things that might seem to have a marginal place in the general order around me and give them place. I am able to take things and concepts that could seem incongruous and create their fit within experience and culture. This to me is directly derivative of God's style of creation and calling reflected in Romans 9. The nature of His prerogative doesn't simply emphasize division between what's chosen or not chosen, holy or not holy. God uses (often heavy) contrasting colors to highlight the reality that under His hand all things work together for His glory. It is for Christ's glory that all things and we are united as instruments, artists, neighbors, and citizens of His kingdom. Spark Notes The Artist's Reflection Ebitenyefa Baralaye is a ceramicist, sculptor and designer. He was born in Lagos, Nigeria, raised in Antigua and lives in the United States. Ebitenyefa received his BFA in Ceramics from the Rhode Island School of Design. His studio bases have included Long Island City, Queens; the Elizabeth Foundation for the Arts in New York City; and Bloomfield Hills, MI where he is currently enrolled as a Ceramics MFA candidate at the Cranbrook Academy of Art. He has exhibited in various solo and group shows domestically and internationally including the 2011 Gyeonggi International Ceramix Biennale in Icheon, South Korea and the 2016 Toronto Design Festival. He has held residencies at the Peters Valley Crafts Center in Layton, NJ and most recently, Talking Dolls in Detroit, MI. Website Ebitenyefa Baralaye About the Artist Artist in Residence 2016, Ebitenyefa Baralaye – Part 3 Artist in Residence 2016, Ebitenyefa Baralaye – Part 2 Artist in Residence 2016, Ebitenyefa Baralaye – Part 1 David Abram Ebitenyefa Baralaye Other Works By Follow the developmental journey of Ebitenyefa’s project by reading his FIRST , SECOND , THIRD and FINAL posts written as a 2016 Artist in Residence. Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . This thought-provoking poem by award-winning artist Crystal Tennille Irby challenges readers to consider what the "greater work" is in response to John 14:12. John 14:12 What Wondrous Work Is This By Crystal Irby Credits: Curated by: Davelyn Hill 2021 Poetry Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link A couple of years ago I was having a conversation with a friend, Shemuel, who is a talented art curator. We were discussing Romans 8:17, "and if children, then heirs - heirs of God and joint heirs with Christ, if indeed we suffer with Him, that we may also be glorified." We talked about what it meant to be an heir of God and joint heirs with Christ, how much power that bestowed upon us and within us. We questioned why we don't tap into that power, which led us to John 14:12. Shem said to me, "Jesus didn't want us chasing His ghost. He wanted greater works from us." That was life changing for me and since that day, whenever I feel out of alignment, I say to myself "what is the greater work?" It reminds me that if my inheritance from Jesus is that I will do greater work than Him, if He called me to do greater work, then I am powerful, which means I have the capacity to co-create my experience. Then the question becomes, what is "the greater work". I believe "the greater work" is US, divinity in the flesh. We are a source of power, a source of and for great work. We don't have to look outside ourselves for source or power. Our work is to consistently align with that divinity, witness miracles unfold, witness what we can manifest in partnership with God. Spark Notes The Artist's Reflection Crystal Tennille Irby is a spoken word poetry grand slam champion, published writer, director and identifies as a #BlackMamaCreative , an artist creating work across multiple artistic disciplines centering Black mothering, absent of the white gaze. She is a doula and the current co-host and executive producer of Dem Black Mamas Podcast , a podcast that delves into the unique experience of 3 Black Mama Creatives raising free children while catching their creative dreams. Crystal is a TEDxGreenville presenter , a Watering Hole Poetry Fellow and the founder and Director of Writers Well Youth Fellowship , a program for Black girls ages 14-19 focused on writing and performance. Her recent credits include, Untitled Reconstruction Project , which she directed and co-produced and Untamed Womb: Reclaiming Wonder Through Healing, Liberation & Creativity , a Project Row Houses installation which she co-curated. She was also a contributing writer for For Harriet . In addition to her creative endeavors, Crystal has presented at numerous conferences including Black Maternal Health Conference & Training Institute; Let’s Talk About Sex, & HIV Prevention & Education Summit. Crystal has over 15 years of experience working to dismantle systemic and institutional racism. She works as a community doula helping Black birth persons stay connected to their body and as a facilitator for Speaking Down Barriers pushing communities forward by helping Black people heal from race and gender trauma. She also served on the board of Hub City Writers Project , a place based non-profit press committed to publishing southern writers. Crystal is the mother of 4 children and shares her life with an Omega man. www.crystaltennilleirby.com Instagram: crystaltennilleirby Website Crystal Irby About the Artist After the Blood Is Gone: When the Killing Won't Stop Crystal Irby Other Works By Related Information View More Art Make More Art I, raised in a house of God gave reverence to thunder and lightning through silence, knew the devil beat his wife, sat in awe of a deity who allowed it View Full Written Work What Wondrous Work Is This by Crystal Tennille Irby I, raised in a house of God gave reverence to thunder and lightning through silence, knew the devil beat his wife, sat in awe of a deity who allowed it, wondered who was the devil, the rain or the sun, consistently interrogated divinity. Cause men be nimble with disguises or maybe my well trained eyes expected a woman the greater work only ones I saw saving, doing all the forgiving giving all the mercy built of grace alchemizing apparatuses into alters or pews instantly for prayer or praise consistently catching divinity. Cause women be brilliant as the the Holy Spirit giving up the ghost joining Jesus as joint heirs worshipping Him as ascended ancestor accepting inheritance ability to resurrect shape shift pull thorns from sides Christless cross be their guide consistently convening divinity. What a wondrous work. Close Loading Video . . . I, raised in a house of God gave reverence to thunder and lightning through silence, knew the devil beat his wife, sat in awe of a deity who allowed it Download Full Written Work

Loading Video . . . Ileana Santamaria's work of poetry responds to the theme of "Friend," inspired by several passages of scripture: Song of Songs 5:16; John 8:12; 14:6; 15:13. Song of Solomon 5:16 John 8:12 John 14:6 John 15:13 where these things forever spring By Ileana Santamaria Credits: Music Composed by Kamel Boutros Curated by: Spark+Echo Arts 2012 Poetry / Spoken Word Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Borrowing the beautiful words of the Shulamite and juxtaposing them with Jesus’ words about sacrificial love as the ultimate expression of friendship, I’ve attempted in this piece to stand in the sometimes uncertain, heady place where erotic, romantic love and other-seeking friendly devotion joyfully unite to create the “haven in a heartless world” that was and is a reality for the Shulamite and Solomon and for so many others. The character here is exuberantly and optimistically getting ahead of herself as it remains unclear whether her friend desires to be her beloved. She wishes to be the Shulamite and to love her beloved as woman and with a Christ-like, sacrificial love that rejoices in their ultimate hope, together, even while still on earth – how much more so upon return to the “true country” (and here I’ve borrowed liberally from C.S. Lewis and Tim Keller, authors to whom my intellectual and spiritual debt is great). This is an invitation – simple, joyful and not a little wistful, childlike, and completely vulnerable – to take the hand of one who dares to love him and embark together on the great adventure of our journey back to the Throne of God. The piece was initially intended to be only spoken word, but Kamel Boutros, a friend and musical collaborator who has set my poems to music in the past, suggested that parts of the piece should be sung and wrote a lovely melody that highlighted the central themes of vulnerability and childlike joy nicely. He also accompanied the sung parts. My sincere thanks go out to him for contributing his great talent, creativity, and time. Spark Notes The Artist's Reflection Ileana Santamaría began the performing artist life as an aspiring Latin singer over a decade ago, embarking on the long journey of fulfilling an aspiration rooted in an eclectic, music-filled childhood. After much meandering, following (mostly unwittingly) where the Lord led, she happened upon a voice teacher that opened up her voice and found beauty in it, a surprise to Ileana, who had long struggled with vocal technique and producing healthy, beautiful sound. While waiting for the surprise of getting to sing, her Heavenly Father bestowed upon her many other gracious gifts – a knack for foreign languages, work in an international organization, friends from many countries and walks of life, and a talent for and enjoyment of crafting spoken word poetry, which Ileana first dabbled in producing and performing in her college years. Website Ileana Santamaria About the Artist Ileana Santamaria Other Works By Related Information View More Art Make More Art my beloved… and my friend. not a means to this be-loving View Full Written Work where these things forever spring by Ileana Santamaria my beloved… and my friend. not a means to this be-loving but its end an end for love the greater that it would, as our Savior its incarnation did, it could lay down even life and limb and loving Him in Him we be-get love eros… agape… ever and ever the twain shall meet in you shall beat in me, my sweet my ardent and impatient heart softened by the pain, and chastened by the wait, until freed from demand and fed to fullness by its Lord of love, it can only give, can only brim, can only sate so for now let us dance take my hand, for we shan’t be long in this foreign land the real country awaits us, the true, o you, o beloved who are first and foremost friend let us delight in a love without end let us rejoice! we, the cherished little children of an ever-loving King found, by Him and by each other, hand in hand, our trail lit by the Light of the Truth on the Way! Yes, lit! by the Light of the Truth on the Way… back home to climb into His arms perfectly home, perfectly safe, perfectly loved where it is forever spring where these things forever spring Close Loading Video . . . my beloved… and my friend. not a means to this be-loving Download Full Written Work

Loading Video . . . Composer and vocalist Jessie Downs explores loss, hope, and self reflection as guided by Psalm 29:3-4; 31:9-10; 81:3. Psalms 29:3-4 Psalm 31:9-10 Psalm 81:3 Lamentations By Jessie Downs Credits: Composed By Jessie Downs, 2017 Soprano by Jessie Downs Contralto by Felicia Heiney Piano by David Maiullo Sound Engineer: Greg Kapustka Curated by: Jonathon Roberts 2017 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link For my little sister, Aleksandra. May you rest in God’s arms. “Lamentations” is a a piece for (2-3*) voices and piano which takes the text of Psalm 31:9-10 as its inspiration. In composing the piece, I intermingled three translations of the chosen text (Good News, NKJV, NIV), using it both concretely and abstractly. Concretely, I used the combined texts as a “libretto” for the work, which is written in the form of an operatic scene. All three translations trace a common emotional arc – from cries for mercy to resignation in weakness – while subtle differences in the translations reflected variations of sentiment about the universal theme of loss. Consider, for example, whether one’s “strength fails” because of an “affliction,” “troubles,” or “iniquity.” By using all three translations, I was able to present the singers both as a unified group and as individuals. More abstractly, writing the piece served as a vehicle through which I was able to explore my own feelings of loss as they were experienced during the time of the work’s composition. 2016 was an immensely difficult year for me, as it seems to have been for many. In April – around the time I began serious work on the piece – an 8 year long partnership came to an unexpected end. This proved not only to be a tremendous loss in and of itself, but also a huge blow to my understanding of my identity, life, and of meaning more generally. From that event onward, the Psalm text spoke to me anew and became a vehicle for reflecting on these difficult emotions. The piece is written in a more classical style than has been typical for my work to date. This was done intentionally in an effort to to bridge the gap between my studies of experimental composition and bel canto singing, the latter having served as a most precious outlet for self-affirmation in life’s more difficult moments. I wanted to pay homage to this practice which means so much to me, as well as to create a vehicle for myself and other singers to showcase the technique which they attend to with such devotion. The sung lines and the dramatic narrative thus serve as a ready vehicle for vocal interpretation, whilst the colorful harmonies, textures, and unexpected twists of moment-to-moment form provide a setting for introspection. The piano, too, plays an important role in the piece, both sonically and formally. Some of the piano sounds I have chosen to use – such as the rolled and otherwise arpeggiated chords – are intended to elicit images of “Heavenly” instruments such as lyres and harps, surrounding the human lament with an ethereal presence. Likewise, the opening piano solo serves not only as an obligatory introduction, but as an overture which lays out the overall form of the scene. The piece begins with a dark fanfare – almost as though the archangels are playing on their trumpets. When the voices enter (2:02 in the recording, m. 30 in the score), they articulate a fanfare of their own, the earthly choir calling up to Heaven. In the piano overture, the fanfare gives way to a distraught turning texture, and so too the voices when they enter with their cascading cries (2:39, m. 40). The strange solo line in the piano’s lower register which uses a traditional Jewish scale returns in the alto voice about half way through the piece (5:08, m. 77) and is developed, growing a whole network of lines around it. Both the overture and the piece come to a rest in fragmentary and distorted versions of their initial materials, which have by that point been changed by exploration of that crucial, lamenting line (7:50, m. 124). While I expect that the barrenness of the ending will convey tragedy to many, I hope that some of the unexpected consonances and soaring lines which emerge might subtly suggest a hopefulness and faith buried beneath the gloom. *In the provided recording, the piece is only for two voices, though ideally it would be performed with a tenor as well. The score provided shows the piece’s ideal instantiation – three voices and piano – which will hopefully be performed live in Buffalo, NY this spring (2017). Spark Notes The Artist's Reflection Jessie Downs (b. 1991) is a composer, vocalist, and teaching artist for whom music is a medium for sharing personal experiences and entering into community with others. As a composer, her aesthetic is one which treasures the uncanny and surprising beauty of wild yet delicate things. Over the past five years, her work as a musician has also involved developing and implementing music curricula, workshops, and informal learning environments in Ohio (Musical Service for Peace Community Church, Oberlin Choristers Music in Everyday Life camp, Northern Ohio Youth Orchestra residency), New Jersey (Sonic Explorations after-school music Program, ORNG Ink Creative Musicianship classes, MTMS Wind Symphony residency, NJ Youth Symphony Percussion Ensemble residency), and New York (NullPoint Old First Ward Found Sounds Project, Buffalo String Works ‘ Listening Workshops). A classically trained vocalist, her passion is performing works by other living composers, both as a soloist and with her group the Sotto Voce Vocal Collective , for which she serves as artistic director. Jessie is currently a PhD candidate in Music Composition and TA in Aural Skills and Theory at the University at Buffalo (NY). http://jessiedowns.tumblr.com Website Jessie Downs About the Artist Jessie Downs Other Works By View: sheet music for Lamentations Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Known, Held Release and Follow Over-Turn Loading Video . . . Dancer and painter Carrie Swim combines these two art forms to explore the theme of "Dancing" from John 10 and Zephaniah 3, resulting in her works "Known" and "Over-turn." Due to the physical nature of Carrie's process, she has included video of their creation. Zephaniah 3 Known and Over-turn By Carrie Swim Credits: Collaborator: Katelyn Creech Curated by: Emily Clare Zempel 2013 “Known, Held Release and Follow,” 96 × 48 inches. “Over-turn,” 68 x 48 inches. Dance, Oil over Acrylic on Canvas Physical Paintings Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Where the creative process harbors listening and response, I involve every element of my art making practice. For the last year and a half I have found an important and even necessary relationship between dance and painting. I found I could not truly understand or explore the content of my work without participating in both forms. Thus, I combined forms of dance and lyrical abstract painting to enter into moments of intentional engagement with points of reality, question, and petition. My body becomes like a brush pushing through paint that establishes form with movement and contact to surface of the floor and canvas. Movement with my body awakens the reality of my position in the room and relationship with myself and other things around and within me. As I carry paint onto the canvas the marks have a similar effect within the stage of the canvas that testify to the movement that established them. With each movement I seek to move in the rhythm of God’s heart that I seek and my own heart that seeks His face. I try to position myself to best hear more than speak that any visual word in movement and stroke would be the fruit of actual contact with truth and God’s presence. An example of this listening process can be seen in an excerpt of my description from my "Over-turn" piece. …Two marks that looked like marks of breath and opening became wings of song covering and victory…where in between something solid rests yet pours and like the Shepherd gathers marks of green and purple circling around stones laid. My body and the marks listen to the pouring, lifting, each other, and invisible forms that emerge in their dance look like stones. They are stones of the testimony of God’s faithfulness and/or perhaps the walls of Jerusalem. Spark Notes The Artist's Reflection Carrie Swim ‘s work reveals a special sensitivity to breath, space, and dimensions of the living and dyeing that mandates the use of her body like a tool along with the brush. Here, in realms that flow in and out of tradition into lyrical-abstraction, she describes form and experience of the seen and unseen to touch and breath through revealed moments of difficult and beautiful truth. The genesis of her creative processes unfolded in early years of her home city Houston, Tx . There, in her residence of 24 years there, the time was marked with international and spiritual experiences with embodied truth that she finds weaving and unraveling the marks, breath, and motion of our beings. This ignited the explorations and depth of her work. She attained her BFA in painting from Baylor University in Waco, Texas, studying primarily under Karl Umlauf and Berry Klingman. She enjoyed exhibiting in a variety of shows and was able to continue her international experiences studying painting and drawing in Florence, Italy for the summer of 2008. She lead teams in India and Mexico and served in China and Kenya as well. She obtained her terminal MFA in May 2012 from the University of Kansas studying primarily under Judith McCrea, Norman Achers, and Maria Velasco; continuing to travel and display work in the Kansas City and Lawrence area and currently shows work in Houston, Tx, Lawrence, Kansas, and Ho Chi Minh City, Viet Nam. Her travels of place and expression led her to her current residence in East Harlem, New York City where she engages her tools in moments of surprise in realities and questions that press and break through to canvas and skin and new movements that open possibilities of composition and meaning within space and form. Website Carrie Swim About the Artist Carrie Swim Other Works By View All Videos: Known, Held Release and Follow Overturn Over-turn, final moment Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Artists In Residence Spark+Echo Artists in Residence spend a year developing and creating a major work in response to Scripture. The progression of their work is documented and displayed throughout, and the final work is showcased. View This Work 2020 Artist in Residence: Marlanda Dekine Marlanda Dekine 2020 View This Work Artist in Residence 2019: Lancelot Schaubert Lancelot Schaubert 2019 View This Work Artist in Residence 2018: Elias Popa Elias Popa 2018 View This Work Artist in Residence 2017: Aaron Beaumont Aaron Beaumont 2017 View This Work Artist in Residence 2017: Lily Maase Lily Maase 2017 View This Work Artist in Residence 2016: Chris Knight Chris Knight 2016 View This Work Artist in Residence 2016: Stephanie Miracle Stephanie Miracle 2016 View This Work Artist in Residence 2016: Lauren Ferebee Lauren Ferebee 2016 View This Work Artist in Residence 2016: Ebitenyefa Baralaye – "Bam Bam" Ebitenyefa Baralaye 2016 View This Work Artist in Residence 2015: Spark & Echo Band The Spark & Echo Band 2015 View This Work Artist in Residence 2015: Jason DaSilva Jason DaSilva 2015 View This Work Artist in Residence 2015: Melissa Beck Melissa Beck 2015 View This Work Artist in Residence 2015: Don Nguyen Don Nguyen 2015 View This Work Artist in Residence 2015: Christine Suarez Christine Suarez 2015 View This Work Artist in Residence 2015: Benje Daneman Benje Daneman 2015 View This Work Artist in Residence 2013, Emily Ruth Hazel Emily Ruth Hazel 2013 View This Work Memories Nicora Gangi 2013

Loading Video . . . Oregon poet Nathan Hunt responds to Psalm 131, one of David's "song of ascents". Psalms 131 Psalm 131 By Nathan Hunt Credits: Artist Location: Eugene, Oregon Curated by: Jonathon 2011 Poetry Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Psalm 131 is one of my favorite verses. I love that it is a song of ascents, sung as David climbs the steps to minister in the Temple, and yet his eyes are downcast. This is the great and still humility in the face of divine love. The Temple and the work there are the “great matters or things too wonderful for me” which David is ascending to, but instead of thinking of pomp and splendor, he’s quieting his soul. The central image, the soul stilled like a weaned child with its mother, is something I couldn’t possibly improve upon. And the final verse comes in as a triumphant refrain! I tried to interpret this psalm through imagery, through contrasting the glory and joyous noise of a parade with a speaker more enraptured by a small plant and its world. He thinks on a tiny, natural, sincere thing, rather than “great matters or things too wonderful…” I explored the child’s transformation from teething to weaned, as the great commotion makes it forget its pain. The parade must be ignored to see the aphid’s tender moment, as it “nuzzles the green,” but yet the wild celebration (and the Temple worship) are the glory that provide the reason for silence. Spark Notes The Artist's Reflection Nathan Hunt grew up on a small farm near Eugene, Oregon. He received a Bachelor's Degree in Writing and Literature (with a minor in Spanish language) from George Fox University in the fall of 2009. In his spare time, he works at two wineries in Newberg, Oregon. His poems have been featured in The Iconoclast, Mudfish, Perceptions, The Houston Literary Review and Boston Literary Magazine, among others. He is the co-founder and co-editor of the upstart literary journal Cartographer. Website Nathan Hunt About the Artist Nathan Hunt Other Works By Related Information View More Art Make More Art Among the streaming people on hazy summer streets, a sprouting weed. View Full Written Work PSALM 131 Among the streaming people on hazy summer streets, a sprouting weed. In the thorns a tiny aphid nuzzles the green. The crowd blinks at the marching band. The floats crawl slowly past. Overhead a huge balloon tosses its shadow on the beaming upturned faces. The melodies ascend. The cymbals splash. My eyes are downcast and next to me a teething child is amazed into silence. Close Loading Video . . . Among the streaming people on hazy summer streets, a sprouting weed. Download Full Written Work

Loading Video . . . Artist Janna Luttrell brings us two text-based charcoal works in response to the theme of "Dancing" from Psalm 87:7. All the Live Long Day Crying in the Rain Psalms 87:7 All the Live Long Day and Crying in the Rain By Janna Luttrell Credits: Curated by: Janna Aliese 2013 2 pieces, 22 x 30 inches Charcoal on Paper Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link While looking at the theme of dancing in the Bible, Psalm 87:7 stuck out to me as it refers to dancers themselves more than other verses and in this context, what they are doing or are being instructed to do. Is this a musical cue, like in many of the psalms, where the writer tells the dancers to say "All my springs are in you,"? Or is the writer stating that dancers and singers alike are inclined to speak these things about the Lord? Either way, the point is to express that the source of life is God. At the same time as researching this verse, I had also been thinking about emotions and how they correlate to our experience of the divine. Why does moving our bodies or crying tears accompany what we might call a "religious experience"? Are these both forms of release for the springs that flow through us? As a response to the verse I created a pair of text drawings with these ideas in mind. I intend for them to be drawings in their own right as well as renderings for a site specific piece where the text would be applied directly in an environment. A person would encounter the fragments in same way that elusive thoughts come to us as we move through the events of life. These fragments also allude to popular song lyrics that tie in with the water imagery of the verse and might come to us as we are experiencing the springs of life that both pour out of us and overwhelm us. Spark Notes The Artist's Reflection Janna Luttrell is a visual artist living and working in Brooklyn, NY. Janna spends her time thinking about language, absurdity, and perception. Through site specific installations that function as concrete poems, she explores the physicality of language and it’s potential interactions with the built environment. Her drawings straddle the line between geometric abstraction and carefully rendered worlds of two point perspective. Originally from Virginia, Janna completed her BFA in west Texas and her Masters degree in fine art at Central Saint Martins College of Art and Design in London, England. She has exhibited across the US and Europe. Website Janna Luttrell About the Artist Janna Luttrell Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . "Among Fools: a Subrational Soundpainting" was conceived and conducted by Evan Mazunik in response to Ecclesiastes 9:17. Ecclesiastes 9:17 Among Fools: a Subrational Soundpainting By Evan Mazunik Credits: Conceived and Conducted by Evan Mazunik Flute, Tenor sax by Justin Wood Saxophones by Dennis Shafer Trumpet by Rob Henke Cello by Gil Selinger Bass by Ryan Kotler Guitar by Lily Maase Drums by John O’Brien, Max Jaffe Dancers: Holly Hibbert Actors: Julia Anrather, Juliana Rodrigues Corrêa, Fábio Dias, Libby Froeber, Lorenzo Landini and Cara Ronzetti Audio Recording by Flat World Productions Video Recording by Rainy Day Worzella and Emily Clare Zempel Filmed at Irondale Center in Brooklyn, NY on June 21st, at 8pm Curated by: Spark+Echo Arts 2013 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Evan talks about his process and how did he composed the music, text, and movement: How much of the show was rehearsed? How much was improvised? What the heck is Soundpainting? Spark Notes The Artist's Reflection Evan Mazunik is a composer/performer raised on the prairies of Iowa and rooted in Queens, NY. Fluent in Soundpainting, a sign language for live composition, Mazunik is composer/director for ZAHA, his experimental chamber ensemble. His compositions include commissions for jazz band, chorus, theater, dance, and film, and his work was featured in a documentary for the Finnish Broadcasting Company. Mazunik has performed with Anthony Braxton, Walter Thompson, Carla Bley, Robin Eubanks, Danielson, and Sufjan Stevens, and has played at creative music venues such as Roulette, The Stone, Barbes, and Galapagos. He received a Bachelors degree in piano performance and a Masters in jazz studies from the University of Iowa and has taught improvisation at the University of Indiana and the Royal Academy of Music in London. http://evan.blissstreetstudios.com/ Website Evan Mazunik About the Artist Evan Mazunik Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . Dancer and choreographer Julie Rothschild brings us this work 'in response to' Philemon 1:8-11. Philemon 1:8-11 in response to By Julie Rothschild Credits: Curated by: 2015 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link When I received Philemon 1:8-11 as a voice recording, I opted to use it as a sound score. I wasn't familiar with the passage and intentionally did not go looking for the meaning behind the words. And so I moved with the text and I moved without it. I went to my favorite place to be quiet, my church so-to-speak: a nearby trail with massive cottonwood trees and a host of birds. There, I filmed myself moving in response to my memory of the sound of the text. I then spent time trying to layer sound and video, trying to make my response look like something more than what it was, trying to make a video that looked more like a film with different layers and textures. I was caught up in trying. Then I did one straight take with the sound playing and one camera strapped to my bookshelf. And this is what I'm sharing. I've layered the sound score on top of my recording in order to blend it with the sound that plays in the background. I am simultaneously listening and choreographing a dance that makes sense in the moment. I feel that this allows me to best respond to the voice, the words, the textures, the rhythms and to experience my own emotional response. It feels the most honest. Spark Notes The Artist's Reflection Julie Rothschild is an Independent Dance Artist and Educator, Alexander Technique Teacher, and Nordic Ski Instructor. Her passion for movement and performance began at a young age, and continues to lead her in unpredictable and wondrous directions. She has collaborated, choreographed, performed, taught and apprenticed with a wide and wonderful assortment of dance companies and artists throughout the world. While living in Athens, GA (2000-2009), she co-founded/directed Floorspace Movement Arts Center, where she curated The Handful Series and hosted numerous dance workshops and performances. She also worked as an adjunct professor in the Dance Departments at University of Georgia and Emory University. Julie has been making solo and group work since she was a high school student at Western Reserve Academy in Hudson, Ohio. Most recently, she directed ANIMAL, which premiered in September 2013 at Skwhirlhaus in Atlanta, Georgia. ANIMAL, chapter 2, had its premiere at Performática in Cholula, Mexico in April 2014. Her latest solo, RUST, premiered at Boulder Museum of Contemporary Art (BMoCA) in March 2015. Her current projects are MAPS (Making And Performing a Solo) for 100 Dancers, a worldwide choreography project; and Chicken Bank Collective, an international collective of visual and performing artists whose aim is to weave communities across borders through the art of movement. Julie currently resides in Boulder, Colorado, where she lives with her husband, 2 teenage sons and their pup, Olive. www.julierothschildmovement.com Website Julie Rothschild About the Artist Julie Rothschild Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work