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Loading Video . . . Musician Aaron Kruziki brings us this beautiful and intricate song in response to the theme of "Lies" from Ephesians 4:25. Ephesians 4:25 When We Lie By Aaron Kruziki Credits: Lyrics and music by Aaron Kruziki; Engineered and produced by Aaron Kruziki, Long Island City, NY; Mastered by Tyler Duncan, Ann Arbor, MI Curated by: 2013 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link "When We Lie" is a piece based on Ephesians 4:25: "Therefore each of you must put off falsehood and speak truthfully to your neighbor, for we are all members of one body." Because we are all part of one body, we are part of one another. Humans are all part of a collective consciousness that bends and folds, opens and closes, much the same as a lotus flower. As a lotus flower opens at dawn, it's neighbor opens as well. At dusk, when the flower starts to close, its neighbor follows suit. Much in this manner, humans open and close, often simultaneously with our neighbors, friends, lovers and strangers. When we close off, we don't see others closing, and often assume we're the only ones that are closing. This closing is the lie. This lie, whether it comes from family, friends, or ourselves, is this act of closing. We are dishonest and go about our lives in a state of denial, making these lies sound true and be true. With this new false-truth, we start to close, often not realizing how the lie affects those around us. When we face the righteous truth within us, we start to open, and often find others open around us. Like the lotus flower opening with the sun and closing with the moon, we are all connected. The lies we tell neighbors and ourselves connect us, just as the inner-truth connects us. We have to make a choice: to choose the inner truth or the false-truth. We make the choice to either face our demons or to avoid them. Spark Notes The Artist's Reflection Born and bred in Wisconsin, Aaron Kruziki is a dynamic musician and composer, educator and producer. Currently employed by Steinway & Sons, as part of the Steinway Hall sales team, Manhattan, Aaron’s artistic output includes jazz, rock, pop, and the avant-garde. As a saxophonist and clarinetist, Aaron has received consecutive degrees in Jazz Studies from the New England Conservatory and Western Michigan University, studying with George Garzone and Trent Kynaston respectively. Aaron is a member of “Dapp Theory”, Andy Milne’s M-base ensemble, and is an active member of the Brooklyn and Queens DIY rock, pop and jazz scenes, performing at venues such as Rockwood Music Hall, Glasslands and The Blue Note. His voice moves fluidly from woodwinds to synths and vocoder, performing in genres ranging from synth-pop to world beat. In 2012 Aaron was commissioned by the Chelsea Music Festival to compose music based on John Cage’s “Lectures on Nothing” and is proud to be twice commissioned by “Spark and Echo Arts”. Website Aaron Kruziki About the Artist Ezekiel's Bread Aaron Kruziki Other Works By Lyrics Now you are no longer strangers to us Or no longer foreigners to heaven You are all members of our own family Citizens of our country You belong in our household With every other soul For we are all human Making choices some say are mistakes… We learn these lies to be self-evident And teach ourselves that our truth is now fake Stop lying to each other Tell the truth For we are apart of one another And when we lie to each other We hurt our own Momentary truth replaced by lies I’m wondering through this life And keep on striving Wake up every morning with sun in my eyes And soon enough clouds roll by I keep on trying Over and over I ask myself When it started in my life All this lying Stop lying to each other Tell the truth For we are apart of one another And when we lie to each other We hurt our own Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . Poet Meg Freitag explores the duality of the human experience through her poem which illuminates Genesis 6:5-9:17. Genesis 6:5-9:17 Once to Speak of His Brightness By Meg Freitag Credits: Curated by: Kent Shaw 2016 Poetry Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link I find myself going back again and again to this idea of duality, and how one can feel despair over the state of the world, regret over choices they’ve made, disappointment over unmet expectations, etc., and yet still experience moments of profound joy, gratitude, delight simultaneously. A person can do a horrible thing and still be loveable. A perpetrator can also be a victim. People are burdened with conflicting desires all day long. The desire to be cared for versus the desire to be free, for instance. Or the desire to be respected versus the desire to be liked. I’ve long been preoccupied with the Noah’s Ark story. About God commanding the deluge, and what happens to Noah and his family after the flood. I think it’s an incredible narrative with incredible imagery. But it’s also deeply unsettling. There’s so much going on in this part of Genesis that is so confusing, even unfathomable at times, particularly the moments in which God seems to contradict Himself. I wonder if perhaps coming to terms with the irreconcilably dual nature of selfhood and desire is necessary for all acts of creation. Spark Notes The Artist's Reflection Meg Freitag was born in Maine and currently lives in Austin, Texas. She has a BA from Sarah Lawrence College and an MFA from UT’s Michener Center for Writers, where she was a finalist for the 2015 Keene Prize for Literature. Her work has appeared in Tin House, Boston Review, Indiana Review, Day One, and Narrative, among others. Website Meg Freitag About the Artist Meg Freitag Other Works By Related Information View More Art Make More Art How do You let your children Go like that, every which Way into the world Like chess pieces Set to a terrible music. View Full Written Work O n c e t o S p e a k o f H i s B r i g h t n e s s By Meg Frietag ( o n e ) How do You let your children Go like that, every which Way into the world Like chess pieces Set to a terrible music. How Do You just stand there And watch them pedal their bikes Away from you, downhill At breakneck speeds. Tiny softShelled crabs so numerous as to seem Like a single, disorganized organism, Clamoring all over The tops of each other Trying to get to the best air. How do You let them bury Each other in the black Suede of the sea? The first time I rode in an airplane, I felt as if I was somehow getting closer to You. I felt like my prayers For my friend Joanna, who had been hit By a car and broken Her back, would be louder In Your ear. But the higher we went, The farther I realized You were. It didn’t Even occur to me, then, That she might die, or to worry about her Never being able to walk again. I just wanted her to be well Enough to accompany me To the waterpark. I wanted to go to her House and play Operation. She was the only person I knew Who still had all the bones And organs that went to the game. That summer, I listened to the Jewel CD on repeat, singing along Alone in the sunroom of my grandparents’ Pensacola house. Picture A child, small for her age, drenched In a large new vibrato. Picture the shivering Lizards adhered to the window Screens, picture how green. And the rain That came each evening, roaring Sheets of percussive music. I thought then Of the Old Testament God, so notoriously shortTempered, still figuring Himself Out. For the longest time I couldn’t Reconcile him with You. You, Who I spoke to at night when I was afraid I might do something to accidentally conjure The devil and needed reassurance. You with the dovelight That trailed behind You Everywhere you went. How Do the two of You decide When it’s time to reach Down, pick someone Up by the scruff of his neck? The clouds turn to brick Red scabs as the sun sinks, the streetLights flashing on Like minnows. I watched The movie My Girl. It felt like a hole Had been punched through The world when the boy Was stung to death by bees As he tried to retrieve The mood ring his best friend had dropped In the woods. I felt myself projected Into the body of the girl who loved him, When she finally lost it At his funeral Because he wasn’t wearing His glasses. ( t w o ) And in real life, there was Snowflake. They called him that In seventh grade because of how Pale he was: his birch- White hair, his see-through eyelashes. The veins in his arms like radio Wires. I swear they did But when I saw him again, years later, He didn’t know what I was talking about. You’re confusing me With somebody else, he said, And I never mentioned it again. Something happened to him In Afghanistan. Orange dust Rose around him So dense I couldn’t see him Through it whenever he tried to talk To me about his time there. What does one do When they are suddenly void Of all desire? Like they couldn’t grab Hold of a want If their life depended on it. I have been Before to this place, but have always made it Back in time. Desire, this bright Spot we carry by its handle Like a lantern as we move Forward. Without it We are blind as animals that live Their entire lives underground, living The small way, with their mouths Full of dirt. Long ago, The Earth was covered In a fine white fur. Animals Slept out in the open and ate Grain from the palms Of our hands. You learned the hard way That something white won’t stay Clean for long. The bacchanalian Stench became so thick We had to line our nostrils With camphor oil just to sleep At night. You took down Everyone’s number, said I will be back For you later. No one believed You, That’s how hollow the sounds Of Earth had become. But You Showed them. I think Snowflake killed people And he was violent with me, once. I didn’t speak A word to him In the three years leading up To his death. And yet I still remember him as mostly A gentle person. A boy with crooked Wire glasses and filthy sneakers, Who had panic attacks Every time he thought About what would happen Once the landfills filled up. A summer Morning, scored by garish, Unkind light. Blue Jays scatter from the yard Like marbles, every which Way, as I cross To the compost. I know It’s in their best interest, but I wish You’d not taught the animals to fear Us. Everything Is always getting smaller As it moves away. Do you see Me, how alive I am? Growing Old as a saint down here In my little skiff. Caught Between a desire to be loved— Deeply, permanently— And a desire To be weightless. A foil Wrapper in the soup-warm sea, Gleaming Like a beacon every now and again. When the light strikes just right. Close Loading Video . . . How do You let your children Go like that, every which Way into the world Like chess pieces Set to a terrible music. Download Full Written Work

laurel-justice_liminal.jpeg Loading Video . . . Laurel Justice explores the multilayered history of Bathsheba through the stunning, physically multi-layered creation of her work in response to 1 Kings 1:28-40. 1 Kings 1:28-40 Liminal By Laurel Justice Credits: Curated by: Michael Markham 2016 12 x 16 inches Pastel on board Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link When I began engaging with the text, I was struck by the strangeness of it all: Bathsheba is visiting her husband, the dying King David, while a naked Shunnammite virgin is warming him in bed, and Nathan is outside eavesdropping so he can confirm David's intentions for the heir. What significance did Bathsheba have, that she, of all of David's countless wives, be the one summoned to his death bed (but not the one to keep him warm)? That her son, over all sons, had favor to be named king? And what uncommon wisdom might she have possessed to navigate all of the variables that made up her marriage to David? As soon as David confirms that their son, Solomon will be the heir (not Adonijah, who was trying to assume the throne), Bathsheba bowed her face to the ground, proclaiming "long live my lord King David". The rest of the passage is about how David wants Nathan to handle the change over. I started my piece with a bathing Bathsheba for an under-painting, for that is where it all began between these two. I imagined her as a person of great strength, character and courage, and the kind of person who could raise the "wisest man who ever lived". She strikes me as quite pivotal to this moment in history, being included in the genealogy of Jesus, and being a sort of midwife of the temple of Jerusalem that was to come. As I layered pastel paint over the figure, I contemplated the origin of a courtyard bath, adultery, the arc of her losses (Uriah, at least one son, etc.), her significance to David, her remarkable mothering of Solomon, and all that followed in history because of her. I represented her figure somewhat architecturally, and my subsequent marks are meant to hint at her liminal place in history. Spark Notes The Artist's Reflection Laurel Seibels Justice lives in Colorado Springs, Colorado, where she works from her historic loft studio as a psychotherapist, artist and art consultant. She recently served two terms as a Public Art Commissioner for the Pikes Peak Region and juries everything from latte art competitions and poetry slams, to large scale public sculptures and outdoor arts festivals. She has consulted on various digital art experiences (apps and blogs) for companies based in New York and London. Laurel also writes an occasional arts and culture feature for the local newspaper. As a visual artist, Laurel works in soft pastels, creating abstract and landscape paintings primarily inspired by the Lowcountry of SC, Colorado and New Mexico. Her commissions hail from coast to coast in the US, and her work has been exhibited widely in Colorado Springs. People describe her work as energetic, whimsical, mysterious, topographical and inspiring. A graduate of Agnes Scott College with a BA in Art, she went on to earn an MA in Counseling from Webster University in Myrtle Beach, SC. She is passionate about helping clients restore wholeness around whatever it is they feel they are meant to be in the world. Not surprisingly, many of those clients happen to be artists, writers, musicians, playwrights, dancers, etc. She designs workshops and retreats that support the personal and professional growth of creative people. She is married to Steve and has 4 children. Website Laurel Justice About the Artist Laurel Justice 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 fantastic musical duo Ben + Vesper created mesmerizing song in response to the theme of "Memory" from Ecclesiastes 1:5-7. Ecclesiastes 1:5-7 Unto the Nor By Ben + Stamper Credits: Performed by: Ben Stamper, voice, acoustic guitar Vox by Vesper Stamper Electric Guitar by Josh Stamper Synthesizer by Nick Shopa Bass by John Mosloskie Drums by Steve Oyola Curated by: Jonathon Roberts 2013 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link The text for this song is derived from Ecclesiastes 1:5-7. I initially chose this book because it has long been my father's favorite book of the Bible, and I read it to feel close to both my heavenly Father as well as my earthly one. I was drawn to this particular passage as it relates to the idea of memory through routine occurrence. Phenomenon such as the sun "rising" or the course of a river ceases to become phenomenon over time, yet these natural cycles are often the ones that lay entrenched in our subconscious and shape the way we respond to the world around us. Similarly, unique and mundane human patterns can form the strongest bonds to our past, and to our ultimate destiny. Spark Notes The Artist's Reflection Ben + Vesper are that musical married couple from NJ who are dually described as “lightly entwined earthbound angels” and “two Disneyfied hyenas yowling at each other.” Since joining up with the Sounds Familyre record label in 2005, Ben + Vesper have released four albums while performing and collaborating with the likes of Sufjan Stevens, Daniel Smith (Danielson), Kurt Weisman (Feathers) and Chris Weisman (Happy Birthday), John Mosloskie and Steve Oyola (Holler, Wild Rose!) and Nick Shopa (Papertwin). As a band, Ben + Vesper is a wide musical spectrum, and such versatility on stage and in the studio comes from their love of working with musicians from different genres and backgrounds, while Ben + Vesper’s vocals remain always at the helm. Website Ben + Stamper About the Artist Ben + Stamper Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . Actor Mike Domenyy brings a version of the Christmas story to life with his engaging performance of Luke 2. Luke 2 Luke 2: Unlikely Invitations By Mike Domeny Credits: Headshot by Michael Cinquino Curated by: Mathew Moore 2022 Scripture Performance Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link When a brand introduces a new product, it's common practice to provide advanced copies to influencers, whose opinions hold a lot of weight with a lot of people. The influencers get a first look at the new product, and go public with their announcement. The success of a new product depends on getting as many eyes on it as possible, so brands prioritize inviting the rich, the famous, and the powerful. Two thousand years ago, it was no different. Kings, governors, judges, priests, and the religious elite held tremendous influence in their regions. The success of any up-and-coming figure or new way of thinking would rise and fall on the endorsement of these powerful groups in their high-walled cities. It's shocking, then, that when God introduced the long-awaited Messiah, whom the Jewish people had been anticipating for hundreds of years, his first invitation announcement was to a group of outcast shepherds well outside the city limits. Eight days later, when Jesus' family visited the political and religious hub of Jerusalem, another invitation was given to an old man with no apparent connections in the city. Their meeting attracted no other attention but that of an old widow who never left the temple. These invitations to see a baby born to a poor family, on top of the fact that the next recorded story of Jesus occurred twelve years later, and then again eighteen years after that, shows that God did not intend to play by the typical rules of social influence. Yet Jesus grew up to be the most influential figure in all of history. Today, we are ourselves unlikely influencers in this grand invitation to meet Jesus. Because he was first announced to the outcast, the messy, the irrelevant, and the poor, we can approach him no matter our state. And we have been entrusted with sharing the good news about him to whoever is in our circle of influence. This presentation quotes Holy Bible, New Living Translation, copyright ©1996, 2004, 2015 by Tyndale House Foundation. Used by permission of Tyndale House Publishers, Carol Stream, Illinois 60188. All rights reserved. Spark Notes The Artist's Reflection Mike Domeny is a speaker and performer who helps people engage with the Bible in a conversational, approachable way through short-form videos, online resources, and live presentations. Mike founded Outloud Bible Project to help people recognize their role in the conversation of the Bible by reading the Bible out loud on screen and on stage. He is the author of Thrown off Script , which draws on his decade of professional improv experience to help readers recognize unexpected changes as opportunities to grow closer to Jesus. He co-founded The Grove: Kingdom Creativity Collective to nurture and equip creative Christians to pursue their God-given mission. "Everything you need to live a fulfilling, impactful life can be found in the Bible." -Mike Domeny Website Mike Domeny About the Artist UnderDog or UnderGod? Mike Domeny Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Ayakoyoshida The Earth Is Round No Matter What Happens Copy Loading Video . . . Textile artist Ayako Yoshida incorporates the visual aesthetic of Kabuki theatre and responds to the events of March 11, 2011 in her work's reflection on Psalm 46:2-3. Psalms 46:2-3 [the earth is round no matter what happens] By Ayako Yoshida Credits: Curated by: Rachel Carvosso 2015 Textiles Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Through discussion with the curator I chose this bible verse because it is about protection in the middle of great disaster. On March 11th 2011 Japan experienced a huge tsunami and earthquake; so this is an important theme for us. How can we be safe even if the world is breaking? The center of the image is the world, and it can also be viewed as a hat. I chose to use hat as a motif because, for me, the image of a hat evokes childhood memories of being protected from elements that can become harmful – for example sunlight or strong rain/wind. In Japan teachers train children to wear a hat to protect our heads when an earthquake occurs, so we are familiar with the hats. Japan is also known as the Land of the Rising sun, everyday we see the sun sinking to the other side of the sea. It is a rhythm and is something reliable – in the bible verse even if the physical world disappears there is something that remains. Spark Notes The Artist's Reflection Ayako Yoshida graduated from Tama Art University in 2012. As an emerging textile designer she has exhibited in a group show, Shinchou Art; was selected for the Aomori Triennale Print Prize in 2014; and is currently working as a textile maker. “My textile work/designs are inspired by the color of the Japanese Kabuki Theater, Ukiyoe prints and European Paintings and space. I make surface design and create two dimensional patterns/hangings that allow the viewer to see the space as if looking through a window. I want viewers to enjoy looking ‘into’ the work as if they are looking at another world.” 主なテーマは色彩と空間です。 世界にはたくさんの色があります。 日本の伝統的な歌舞伎や浮世絵に使われている色を見て作品を作ったり、 西洋のたくさんの画家の描いた絵からインスパイアされることもあります。 パターンを繰り返すことによって空間が現れます。 一枚の布を壁にかけた時にその布がまるで窓のようになる。 私たちは窓の向こう側を見ているような気分になる。 別世界をのぞいているような楽しい気分になるようデザインしています Website Ayako Yoshida About the Artist Ayako Yoshida Other Works By The first artist of the 2015 season, Ms. Yoshida is also the first artist of a three-part series featuring artists from Japan, selected by curator Rachel Carvosso. VIEW THE SECOND AND THIRD WORKS IN THIS SERIES: PARADISE BY SHINO YANAI AND HOPE BY SATSUKI ICHIKAWA. Ms. Carvosso also shares some thoughts on her process as a curator below: From the Curator: I have been intrigued and inspired by the illuminated manuscript concept of Spark+Echo Arts. Having lived in Japan for 10 years, I wanted to invite Japanese creatives into the process. With little general cultural saturation of biblical background and imagery I decided to connect to a more general relevant theme of finding hope within the brokenness. Japan was hugely affected by the events of March 11th. Fukushima and Tohoku in particular continue to be places where recovery in ongoing. How do artists respond in the aftermath and what does the Bible have to say about disaster, fear, suffering and hope? All three artists have considered their identity as “Japanese” artists post March 11th in addition to how the Bible could relate to God`s bridging of the gap created by brokenness and sin: what should be questioned and how hope can be found even in the middle of the most painful and confusing circumstances. Personally, each of the works in this series remind me of the Japanese tradition of Kintsukuroi (Kintsugi). In Kintsukuroi, broken pottery — rather than being discarded — is delicately restored, the cracks filled in with gold resulting in what was/is broken becoming more beautiful than before. I find that Japanese artists responding to the Bible through the prism of the disaster have significantly beautiful and important insights to share. Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . Is this the world's first pop song from the book of Deuteronomy? We aren't sure. Either way, we hope this starts a trend of hit music from this substantial book. It's a good way to let the words sink in to your heart, and that's what Moses is talking about, yes? Deuteronomy 32:45-47 Take to Heart By The Spark & Echo Band Credits: Written by Jonathon Roberts Performed by Jonathon Roberts (piano, vocals), Emily Clare Zempel (ukulele, vocals, bells), Mason Neely (drums), Jay Foote (bass) Mixed by Alex Foote Mastered by Matt Shane (Masterdisk) Artist Location: New York City Curated by: Spark+Echo Arts 2010 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Is this the world's first pop song from the book of Deuteronomy? We aren't sure. Either way, we hope this starts a trend of hit music from this substantial book. It's a good way to let the words sink in to your heart, and that's what Moses is talking about, yes? 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 Deep Calls to Deep Yo Sé Do You Love Me? Where Can I Go? How to Be Free Flesh Lifeblood Artist in Residence 2015: Spark & Echo Band The Wheels Frogs Ruined Inheritance The Spark & Echo Band Other Works By Take to Heart Chorus: Take to Heart All these words I have solemnly declared Take to Heart All these words I have given you today Verse: So that you may command your children To obey all the words of the Law. (Chorus) They are not just idle words for you They are your life By them you will live long In the land, you’re crossing the river to hold They’re not just idle words They are your life (Chorus) Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Nicora Gangi Psalm 17 Loading Video . . . In this rich and personal work, artist Nicora Gangi reflects on David's prayers to God for continuous preservation from his enemies in Psalms 17:6-12. Psalms 17:6-12 The Everlasting Protective Love of God Our Father By Nicora Gangi Credits: Curated by: Rebecca Testrake 2022 11 x 14 inches Paper collage + Digital layering Mixed Media Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Psalm 17:6-12 comes from the prayer of David to God to preserve his life from his enemies. My interpretation of this passage was heavily influenced by Matthew Henry's Commentary . When using this imagery, David may be thinking back to the wings of the cherubim shadowing the mercy seat which was placed on top of the arch of God in the tabernacle, the place of worship for the People of God ( Exodus 25:30 ). As Matthew Henry wrote , is it as if David is praying: "Hide me under the shadow of thy wings where I may be both safe and warm." This is not the only time we see the allusion to the wings of a bird and God's protection and care. Jesus Christ alludes to this same winged metaphor of protection when He speaks of his loving desire to draw the children of Jerusalem to himself "as a hen gathers her chicks under her wings" ( Matthew 23:37 ). Therefore let us put our trust in God, for He protects us continually under the wings of His mercy. And the Father of mercies will convey us to His heavenly kingdom in a timely season. Spark Notes The Artist's Reflection Nicora Gangi was educated at Syracuse University, Syracuse, New York, USA (BFA 1974 and MFA 1976). She was a Professor of Art at Syracuse University for 29 years. Gangi has been awarded many Grand Prize and First Place awards and grants. She has been and continues to be published in numerous artist’s books on pastel paintings. She has lectured regionally and nationally as a visiting artist at universities and artist’s guilds. She is represented by: Edgewood Gallery (Syracuse, NY), and Gangi Studio (Winter Garden, FL ). Website Nicora Gangi About the Artist The Mountain of the House of The Lord I See Him but Not Now So Shall Your Descendants Be This One The Body without the Spirit | 1 The Body without the Spirit | 2 The Body without the Spirit | 3 The Sealed Ones Peace with God 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

Daughter Rachel Friedlander Loading Video . . . This triptych by photographer Rachel Friedlander responds to Mark 5:25-34 and the theme of "Joy." Mark 5:25-34 Daughter By Rachel Friedlander Credits: Curated by: Ebitenyefa Baralaye 2012 6 x 12 inches Photography, Digital Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link The passage of the bleeding woman in the gospel of Mark has always had an affect on me. For some inexplicable reason, this story has left me with goosebumps on my arms and tears in my eyes nearly every time I've poured over its verses. There's just something about it. It's a juxtaposition of such power and such gentleness. When this story is told, many simply assume that the woman reached for the hem of Jesus' cloak. But the word hem is the actually the word for "fringes," referring to the tzitzit, or tassels, of Jesus' prayer shawl. This woman, who was completely ostracized and secluded by society, reached out expectantly to the holy, symbolic garment of the Messiah. And she was instantaneously healed, both physically and emotionally. In this triptych, the story is told in a modern light from the viewpoint of the bleeding woman. It follows her undoubtedly potent emotional arc, culminating in wholehearted joy and completion. Spark Notes The Artist's Reflection Rachel Friedlander is a photographer, writer, designer, fashion lover, and avid fan of art in it’s many forms. Her life was filled with film cameras, typewriters, paints, record players, and encouragement from an early age. Every day since has been an adventure in developing her skills and finding ways to glorify her Creator through them. Through her lens, Rachel endeavors to capture that moment one savors in their subconscious—that emotional pinnacle an observer replays in their mind: a grandmother mid-laugh, the delicacy of that girl’s eyelashes, a man with his arms out in the expanse of an open field. Life is a series of moments, and Rachel would like to live them all and preserve the best. She currently resides in New York City, where she owns her own photography business and works with Jews for Jesus, using creative mediums to reach fellow Jewish people with the truth about their Messiah. You can see more of her work at www.rachelfriedlander.com and stay updated by hitting “Like” at www.facebook.com/rachelfriedlanderphotography . Website Rachel Friedlander About the Artist Rachel Friedlander Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

collected-thoughts_chris-knight_featjpg.jpg Loading Video . . . I’ve always loved stories. As a kid, I carried books with me everywhere, reading in the car, disappearing under racks of clothes while my parents shopped. I lay on the floor in front of the TV for hours, re-watching my favorite movies on loop, soaking up mindless cartoons, watching another dumb sit-com with a book pressed close to my face. Stories were a way to meet new people, to break into their lives, to learn about the world I was still too young to experience. Find the complete progression of the work linked below. Ecclesiastes 1:8-13 Artist in Residence 2016: Chris Knight Part 1 By Chris Knight Credits: Curated by: Spark & Echo Arts, Artist in Residence 2016 2016 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link March 14, 2016 I’ve always loved stories. As a kid, I carried books with me everywhere, reading in the car, disappearing under racks of clothes while my parents shopped. I lay on the floor in front of the TV for hours, re-watching my favorite movies on loop, soaking up mindless cartoons, watching another dumb sit-com with a book pressed close to my face. Stories were a way to meet new people, to break into their lives, to learn about the world I was still too young to experience. As individuals, as a culture, stories are the tools we use to define ourselves. We remember our victories and our failures. The things we’ve done, the people we were with and the things that matter to us. They let us outsource our memories, preserving our experiences, our identities against our inevitable disappearance. Or at least, that’s what we hope. But the Preacher of Ecclesiastes reminds us not even our stories will last. They will all be forgotten. We will be forgotten. In the central line from the passage I’ve chosen, the Preacher writes, “There is no remembrance of former things; neither shall there be any remembrance of things that are to come with those that shall come after.” So then, who will to do the work of downloading us? Where do we go once we’re copied? And what if we change our minds? I’m still not sure where the story I’m writing is going. But I know that’s where it will start. Spark Notes The Artist's Reflection Chris Knight is a director and writer based in New York City. His short films and feature scripts have been selected for a variety of film festivals across the country. Website Chris Knight About the Artist Artist in Residence 2016: Chris Knight Part 2 Artist in Residence 2016: Chris Knight Part 3 Carried from Jericho Artist in Residence 2016: Chris Knight Chris Knight Other Works By Follow the developmental journey of Chris' project by reading his second , third and final post 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

Nicora Gangi 2013 Air 2 Foolishness Loading Video . . . Nicora Gangi deals with the theme of "Fools" and responds to Ecclesiastes 5:7 in her second work created for a collection inspired by each of the six themes for the year as a 2013 Artist in Residence. Ecclesiastes 5:7 Fool By Nicora Gangi Credits: Curated by: Spark+Echo Arts, 2013 Artist in Residence 2013 14 x 20 inches Paper Collage on Strathmore paper & Adobe Photoshop Mixed Media Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Many of old pretended to know the mind of God by dreams and were so full of them that they almost made God's people forget his name by their dreams. Many now perplex themselves with their frightful or odd dreams or with other people's dreams heralding this or other disaster. Those that heed dreams shall have a multitude of them to fill their heads with, but in them there is nothing but foolishness - just as there is in many words. They are like the idle ill-mannered chat of children and fools, therefore don't pay any attention to them. Fear God and Him alone. Have an eye to His sovereign dominion. Set Him before you. Keep yourself in His love and be afraid of offending Him and you will not be disturbed by foolish dreams. The way not to be dismayed at the signs of heaven nor afraid of pagan idols is to fear God as King of Nations. (Jeremiah 10:2, 5, 7) Spark Notes The Artist's Reflection Nicora Gangi was educated at Syracuse University, Syracuse, New York, USA (BFA 1974 and MFA 1976). She was a Professor of Art at Syracuse University for 29 years. Gangi has been awarded many Grand Prize and First Place awards and grants. She has been and continues to be published in numerous artist’s books on pastel paintings. She has lectured regionally and nationally as a visiting artist at universities and artist’s guilds. She is represented by: Edgewood Gallery (Syracuse, NY), and Gangi Studio (Winter Garden, FL ). Website Nicora Gangi About the Artist The Mountain of the House of The Lord I See Him but Not Now So Shall Your Descendants Be This One The Body without the Spirit | 1 The Body without the Spirit | 2 The Body without the Spirit | 3 The Sealed Ones Peace with God The Everlasting Protective Love of God Our Father When the Lord Gives Us The Land I See Him but Not Now The Mountain of the House of The Lord Paneled and Ruins Series The Harvest Spirit of God-The Spirit Hovering Memories Lies 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 Visual artist Nicora Gangi created a collection of mixed media works in response to scripture and the six themes of the year as a 2013 Artist in Residence. Explore her works created throughout the year: Spirit of God – The Spirit Hovering Light and Darkness (February 4, 2013) Fool (This piece) Fools (April 13, 2013) Dance Dancing (June 13, 2013) Lies Lies (August 22, 2013) The Harvest Harvest (October 17, 2013) Memories Memory (December 12, 2013) Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . "Trees of the Field" is an original song written and performed by Wendell Kimbrough in response to 1 Corinthians 3:12-15 and Isaiah 55. We are pleased to share this song along with an image of the painting "The Patient" by Lauren Shea Little, painted in reaction to Kimbrough's song. 1 Corinthians 3:12-15 Isaiah 55:1–6 Trees of the Field By Wendell Kimbrough Credits: Music by Wendell Kimbrough; Painting by Lauren Shea Little; Artist Location: Southern Alabama Curated by: 2011 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link "Trees of the Field" is a reflection on the value of work in a broken world. Does our work matter? For all the time, toil, and frustration we put in, will our work ultimately be of any value? The song wrestles with these questions in light of 1 Corinthians 3 and Isaiah 55. It sees the Corinthians passage as posing a question to which Isaiah 55 suggests answers. Spark Notes The Artist's Reflection Wendell Kimbrough is a songwriter and worship leader in southern Alabama who believes church music should simply be good music that forms us as we sing it together. Drawing on the sounds of American folk and soul music, Wendell writes scripturally-rich songs with singable, memorable melodies. His music has been embraced by a growing number of churches, young and old, large groups and small, contemporary praise bands and traditional choirs. “There is nothing better than experiencing intimacy with God in the midst of a room where your friends and family are gathered together, experiencing a similar thing. This is why I lead worship; this is why I write songs.” —wk Website Wendell Kimbrough About the Artist Wendell Kimbrough Other Works By “The Patient” by Lauren Shea Little, painted in reaction to Kimbrough’s song. Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work