Loading Video . . . This rich short story by public historian and author Sara Makeba Daise provides for the reader a taste of Revelation 1:1-3. Revelation 1:1-3 Blessed Are We By Sara Makeba Daise Credits: Featured Image by English Purcell Curated by: Marlanda Dekine 2019 Historical Fiction Short Story Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Before even choosing this text, I knew that I would like whatever illumination I offered to be grounded in Womanist theology. I choose to center Black women and the people who are most marginalized in all that I do. The short story I told is historical fiction, based on real-life events in my hometown of Beaufort, SC. Black and white people gathered on New Year’s day to hear the Emancipation Proclamation being read aloud. And when I thought about Revelations and the idea around this earth-shattering message from God, I wanted to imagine a message with that level of severity being offered in real life. I know many people think of the Bible as fiction. As a Public Historian, I know many people think of the history of American slavery as fiction. In both cases, the stories of Black queer people, trans people, non-binary people, cis women, disabled, and other marginalized folks are rarely centered. Rarely given reverence. So this was me re-imaging a story I’ve heard my parents tell countless times about free people on St. Helena Island. The idea that the message, and the messenger, and those who received the message were all blessed. And that this message would change the world. I wanted to push that further to say, if we were centering the voices of the most marginalized from the beginning, we’d all be all the more blessed. Jesus, as I have understood him, was a champion of the most marginalized. Sandy and Hurriya are fictional. But Black people being born free into an unfree world is not. I believe liberation is possible. I believe Heaven on Earth is possible. I believe that those who came before us are waiting for us to remember the Love and Light we come from. Spark Notes The Artist's Reflection As a Cultural History Interpreter and Public Historian, Sara ’s work connects past, present, and future in accessible, healing, and liberating ways. Her research and praxis include Gullah Geechee women, Womanism, Black Feminism, Afrofuturism, queerness, sexual freedom, Black affirmations, and the power to imagine and manifest better worlds. Sara is a Program Assistant for The Charles Joyner Institute for Gullah Geechee & African Diaspora Studies at Coastal Carolina University. She was one of the 4 original Interpretive Aides at Mcleod Plantation Historic Site in Charleston, SC when it opened to the public in 2014. She is a living historian with the Slave Dwelling Project. She is also a Digital Archivist for Real Black Grandmothers, an online archive centering the stories of Black Grandmothers throughout the diaspora. A native of Beaufort, SC, She earned her B.A. in Communication with a minor in African American Studies from the College of Charleston, and she received her M.A. in Public History from Union Institute & University. Sara is one of the 2018 recipients of the Brian Webb Award for Outstanding MA Thesis in History & Culture. Website Sara Makeba Daise About the Artist Sara Makeba Daise Other Works By Related Information View More Art Make More Art It was warm that day. Unreasonably warm for New Years in Beaufort, SC. Damp air blew in off the saltwater. View Full Written Work Blessed Are We by Sara Makeba Daise It was warm that day. Unreasonably warm for New Years in Beaufort, SC. Damp air blew in off the saltwater. The sweet, salty scent from the marsh filled everyone's noses. It was still early as they gathered. In hundreds. Black and white. Free and formerly enslaved. The spirits of The Ones who 'd been there centuries before were also present. Watching. Those alive and in their bodies gathered under that big oak tree on Smith Plantation. One woman, Sandy, wore her daughter Hurriya wrapped to her body in Mama Venus' old shawl as she walked deliberately toward the growing crowd. Venus hadn't been her real mama. Sandy's real mama had been sold when Sandy was just a lee gal. Ain nothin but 5 years old. Mama Venus had swept in, like the old folks do, bringing the young Sandy into her own cabin on Laurel Plantation, a cabin that she shared with her sister Osha, and three other kids. All girls. It was rare in some places. A cabin full of women-folk. But rare things often happened on St. Helena Island. The folks there expected the unexpected. Expected the rare. "What a day, Riri. What a day." Sandy murmured into Hurriya's ear. The two had arrived on foot, like most of the other Black people in attendance. Some had walked for miles from nearby plantations. Sandy and Riri, too, had made the walk from the plantation where Riri had been born. Hurriya was big enough to walk, but the closer they'd gotten to the growing crowd, Sandy had chosen to pick her up again. It wasn't fear she'd felt. But excitement. A stirring in her spirit. And affirmation. And she wanted to feel her baby's heartbeat close to her own. They gathered today to celebrate the proud Black US troops. And to hear that man Brisbane read them freedom words from Lincoln. William Henry Brisbane, a Baptist minister and former slave owner, had seen the sin rooted in his ways, sold all of his slaves and moved to Ohio. Becoming an avid abolitionist, he later returned to the South, repurchasing and freeing all but one of his former slaves. And it was he who was given the great honor of reading the Emancipation Proclamation to the people who built this nation with their bodies. "That on the first day of January, in the year of our Lord one thousand eight hundred and sixty-three, all persons held as slaves within any State or designated part of a State, the people whereof shall then be in rebellion against the United States, shall be then, thenceforward, and forever free; and the Executive Government of the United States, including the military and naval authority thereof, will recognize and maintain the freedom of such persons, and will do no act or acts to repress such persons, or any of them, in any efforts they may make for their actual freedom." Sandy and many others on the Sea Islands had been "free" for months. Since the day of the Big Gun Shoot. White masters had fled with their families, trying to escape the Union army. Sandy had almost been snatched up that day--her Master Long violently pleading that the women and girls in Mama Venus' cabin pack up and leave with them. "You ungrateful Black wenches!" Long yelled angrily. "This war don't mean nothin! Lincoln don't mean nothin! You still belong to me, and I said ‚'Get yerselves together and come on!'" Mama Venus had looked unbothered by his rage, and communicated silently to Sandy and the others that they were not to move. Sitting in front of the open fire in their cabin, Venus just kept stirring a large pot of something faint, staring into the flames as if she couldn't hear anything. Long had left shortly after. Venus hadn't threatened him. Hadn't acknowledged him at all. His own fear or a world he couldn't explain sent him and his family along with a caravan of other white plantation owners. Attempting to outrun the root of their lies. The costs of their delusions. Sandy, Venus, and thousands of others had BEEN free for months. Free when the Union came. Free when the masters left. Free when Union troops began raiding abandoned plantation communities for able-bodied Black men to fight in the war. Pillaging for women to service their wants and needs. Free when the abolitionists and missionaries brought education and contempt for their ancient ways of knowing. Free. But Lincoln had called them "contraband." Today that was different. Brisbane read: And I hereby enjoin upon the people so declared to be free to abstain from all violence, unless in necessary self-defence; and I recommend to them that, in all cases when allowed, they labor faithfully for reasonable wages. And I further declare and make known, that such persons of suitable condition, will be received into the armed service of the United States to garrison forts, positions, stations, and other places, and to man vessels of all sorts in said service. And upon this act, sincerely believed to be an act of justice, warranted by the Constitution, upon military necessity, I invoke the considerate judgment of mankind, and the gracious favor of Almighty God. The crowd at Smith Plantation had grown to the thousands. Black and white. The Sea Islanders, the formerly enslaved dressed in their finest wares. Aprons crisp and white. Brightly colored headwraps. Their Gullah language spoken quickly and with passion. Anyone from out of town who might've heard the Sea Islanders' creole, seen the ocean of shining, Black faces, might've wondered what part of Africa they'd stumbled upon. Sandy listened intently to the proclamation, sifting through its meaning. She waited to feel seen by those bringing this long, long-awaited message. Waited for the words to match some truth she knew. And then a young man's voice broke through the crowd, piercing through the excited chatter. "My country 'tis of thee..." There was a hush. And a murmur as the young man sang. As if encouraged by those unseen spirits, other newly free Sea Islanders joined in his song. "Sweet land of liberty..." Sun shown on her face, and the face of her baby as Sandy, too, added her voice to the thousands. The song felt like a long exhale. "Land where our fathers died." Sandy sang... Thinking of Venus. Thinking of her mama. Carved out her space in time as she sang. "Let freedom ring..." Even if only remembered by her daughter. Hurriyya. No longer slave. No longer contraband. Sandy and Hurriyya were free. Their people were free. Free. She wept. Shuddered as the eloquent and prickly words washed over and through her. Other people hugged loved ones close. Men did not attempt to hide their tears. The crowd swayed and shook. Their words lifted, swirling and spiraling around the egrets whose wings flapped, seemingly bringing the voices higher. And higher. Free. Sandy smiled. Finally feeling seen. Tears slid down her cheeks, pooling in the kinky hair of her daughter. Her daughter Hurriya who knew. Who'd known before the white man came and read the words that caused her mama's heart to thump thump thump. Hurriya had known before she came to her mama. Before she'd swam around inside her. Sharing blood. Nutrients. Breath. Before being born into government-sanctioned slavery. She'd known before all of this. Came here knowing. Came here free. No. This white man hadn't brought her any new information. Lincoln wasn't offering some new perspective. They were born free. Born free into a world where folks had decided based on some supposed divine authority, that they were slaves. Hurriya giggled as the harmonies soared around and over her, reminding her of the home and love she came from. Her mama's tears reminded her of things she knew. Things she'd come here to teach. Ignited. Charged. Message received from messenger. "Free" she gurgled to herself. "Free" her mama said back. And everything around them affirmed this message. "Free to be as we are," the birds seemed to sing. "Free to be as bright as I was created to be", the sun seemed to shine. "I came into this world with everything I'll ever need," sang the birds above the crowd. "I am not to be owned. My presence is a present. A gift," spoke the grass. "We belong to no one. We are connected to everything and attached to nothing. We are one." The trees stared. "I am limitless space," the sky exhaled. And Blessed were those who gathered there. To feel everything around them affirm their freedom. And Blessed are free Black women, whose liberation necessitates the destruction of every form of oppression. Sources: Conley, Casey. "'Oh, Freedom': Hundreds gather in Beaufort to mark the 150th anniversary of slavery's end." The Beaufort Gazette, January 1, 2013. https://www.islandpacket.com/news/local/community/beaufort-news/article33493509.html Transcript of Emancipation Proclamation (1863). https://www.ourdocuments.gov/doc.php?flash=false&doc=34&page=transcript Close Loading Video . . . It was warm that day. Unreasonably warm for New Years in Beaufort, SC. Damp air blew in off the saltwater. Download Full Written Work

Loading Video . . . Desimber Rose Wattleton's poem, "Naked Grace," looks at our broken tendencies transposed with grace in her creative interpretation of Genesis 9:18-28. Genesis 9:18-28 Naked Grace By Desimber Rose Wattleton Credits: Curated by: Marlanda Dekine 2019 Spoken Word Poetry Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link This poem explores the nature of God's grace as it pertains to Genesis 9:18-28, a God who sees our sin, but covers us with mercy, and refuses to allow our process to cancel our purpose. Spark Notes The Artist's Reflection Desimber Rose Wattleton is an author, poet, and pastor of The Rock Worship Center in West Union, South Carolina. She has served the Body of Christ as a teacher, motivational speaker, and spoken word artist. Empowering believers and reaching the world with love and truth is what she seeks to do with every opportunity to share the Gospel. Desimber Rose has authored a book of poems entitled Interpretations , a children’s book entitled Gumbo World , biblical study resource God Does Not Want Your Bill Money, and digital devotional “Jesus Is King.” Facebook: Desimber.Rose Twitter: DesimberRose Website Desimber Rose Wattleton About the Artist Desimber Rose Wattleton Other Works By Related Information View More Art Make More Art Somebody said opportunity knocks, but I have to disagree, if destiny 's the house, opportunity is the door, and the only one knocking is me View Full Written Work Naked Grace by Desimber Rose Wattleton Somebody said opportunity knocks, but I have to disagree, if destiny’s the house, opportunity is the door, and the only one knocking is me… Bang, Bang on the door till my knuckles bleed, while my soul leans on the bell, every now and then I try picking the lock, but shortcuts always lead to hell…so foolish…if I’d stop asking amidst I’m sure butterflies would lend me their wings…but every failed attempt to pimp the effects rape grace repeatedly…so ruthless…make Him my homie lover friend, side piece, or a one night stand…throw a prayer up, ask The Word to turn a trick, I want miracles on demand…we do this Parade our sins across the stage, invite Jesus to the show…exposed…naked and unashamed because of what I know, if I shake this world hard enough to make faith clap maybe bondage will fall to the floor…transposed…and for every article of sin I take off I become more of a bride and less of a whore…composed…red letters spell my name, “it is finished” indicate He could do no more…case closed…in the meantime, I’m grateful God’s a big tipper, I swear I heard Christ whisper I’m in love with a stripper, when He opened the door… Close Loading Video . . . Somebody said opportunity knocks, but I have to disagree, if destiny 's the house, opportunity is the door, and the only one knocking is me Download Full Written Work

Nicora Gangi Your Truth From The Great Congregation Loading Video . . . Nicora Gangi responds to Psalm 40:9 and Spark+Echo Art's autumn 2012 theme: Friends and Community, creating meditative collages using synesthesia - her ability to see colors in words. Psalms 40:9 Your Truth from the Great Congregation By Nicora Gangi Credits: Curated by: Spark+Echo Arts 2012 Collage Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link While centered on Psalm 40:9, my work also responds to the great salvation that was spoken to us by the Lord ( Hebrews 2:3 ). It is this gospel which is spoken to all nations, His body, His bride, the great congregation, His community of believers in the Lord Jesus Christ. The colors used are those that are contained within the passage, referring to Christ, of course, His sacrifice for His Bride, His church, and His community of believers.What is it that is spoken:God's righteousness (blue), faithfulness (red/orange), loving kindness (golden yellows) and truth (bright light white). In this collage, these colors proceed forth from Truth (at the top of the collage) to the community of God's chosen people, even those yet to be come a part of the community (implied by the stars in the darkest parts of the collage). How brightly all these divine attributions shine, giving God the praise for each of them. 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 Fool Dance 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

Loading Video . . . When I first was chosen as an artist-in-residence for this year, I was thinking I’d be creating work about feminism. I chose Proverbs 8 to respond to, in which Wisdom, a woman, speaks about how ancient she is, and implores the foolish and naive to turn away from their pursuits and instead listen to the instruction of wisdom. I was thinking about making a political work about older women – and I still plan to, but not for this commission. Find the complete progression of the work linked below. Proverbs 8:32-36 Artist in Residence 2016: Lauren Ferebee Part 1 By Lauren Ferebee 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 When I first was chosen as an artist-in-residence for this year, I was thinking I’d be creating work about feminism. I chose Proverbs 8 to respond to, in which Wisdom, a woman, speaks about how ancient she is, and implores the foolish and naive to turn away from their pursuits and instead listen to the instruction of wisdom. I was thinking about making a political work about older women – and I still plan to, but not for this commission. Instead, as I read the verse, I was struck by a question that bubbled up from within me, which was how does this verse relate to your life? At that point, my brain drifted back to an exhibit I had seen some years ago at the Metropolitan Museum of Art about the medieval Book of Hours, which was a book of prayers created individually for the lay contemplative – a religious person who was not a monk, but wanted a structure that emulated the disciplines of the monastic life. The books were beautiful, full of illuminated letters and drawings, many of them kept in special cupboards. The prayers in this book feel so personal in their individual way, prayers that reach out like a grabbing hand, blindly away from the self into the unknown divine. In Proverbs 8 , Wisdom says: Blessed are those who listen to me, watching daily at my doors, waiting at my doorway. For those who find me find life. I take this to mean that wisdom comes only to those who are willing to ask for help and are therefore willing to give up being right, to open up the heart to know more – in the broad sense of know, as in not only learning information and facts, but growing in the understanding of oneself and others So instead of creating a Great Political Work, I am taking this project as a challenge to understand more deeply how it is that one can answer wisdom’s daily call to her gate, how all of us – whether Christian, non-Christian, non-religious or other – can engage with the call to continually seek wisdom. Over the course of this year, then, I will be crafting a multimedia book of hours that engages the audience of the work in daily acts of contemplation that are theatrical and/or literary. The work examines the following questions: – How does asking for help intersect with living a more contemplative life? – What is wisdom? How do we know when it is found? – How do we daily, in word and action, invoke the spirit of wisdom in our lives? – How can wisdom and prayer live outside of their traditional forms? What are the many ways we understand prayer in different forms? This month I’ll be in residence at the Kimmel Harding Nelson Center in Nebraska City and I’ve brought a lot of books with me as I move into the research and execution phase of this project, including edited works of Thomas Merton into a Book of Hours . I’m also enrolled in a Harvard Online class that’s very closely examining the form and structure of the medieval book of hours, which I was excited to happen upon in the last couple of weeks. Next for me is the simultaneous actions of absorption and creation as I create a big list of ideas and an investigation into how the different pieces of Proverbs 8 will come under close examination in the larger piece. You can anticipate instruction booklets for contemplative action, philosophical dialogues with wisdom, video work and more as we continue forward together through the year. Spark Notes The Artist's Reflection Lauren Ferebee is a Texan native and a multidisciplinary artist whose primary mediums are playwriting and installation/video art. Most recently, her play The Reckless Season was selected for Stage West’s Southwest Playwriting Competition Festival of New Works, and her alternative screwball comedy Sexual Geography was a finalist for the Reva Shiner Comedy Award at the Bloomington Playwrights’ Project. In 2014, she was a juried fellow at Saltonstall Arts Colony, a semifinalist for the Shakespeare’s Sister fellowship and the first theatre-artist-in-residence at HUB-BUB in Spartanburg, South Carolina, where in addition to writing, she did community-based theatre work. Her most recent work includes Sexual Geography (developed at HUB-BUB), The Reckless Season (The Spartanburg Little Theatre/HUB-BUB), Somewhere Safer (FringeNYC 2013, Inkwell finalist), and Blood Quantum (At Hand Theatre & WET Productions). Three of her short plays, jericho, jericho , Bob Baker’s End of the World and The Pirate King are published online at indietheaternow.com , where Somewhere Safer is also published as part of the 2013 Fringe Collection. She is a member of playwriting collective Lather, Rinse, Repeat, and studied playwriting, screenwriting and television writing at Primary Stages/ESPA. Lauren also has regional and NYC credits as an actress on stage and in film, and from 2007-2010 was co-artistic director of a site-specific classical theatre company, Rebellious Subjects Theatre. She especially enjoys acting in and teaching Shakespeare and working on new plays. She holds a BFA in drama from NYU’s Tisch School of the Arts. Website Lauren Ferebee About the Artist Artist in Residence 2016: Lauren Ferebee Part 2 Artist in Residence 2016: Lauren Ferebee Part 3 while in a foreign land Wonders of the Deep Artist in Residence 2016: Lauren Ferebee Lauren Ferebee Other Works By Follow the previous development of Lauren's 2016 Artist in Residence project by reading her second , third and final post. Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . I am extremely thankful for the great opportunity to be a part of the Spark & Echo Arts 2015 Artist in Residence program. I was approached by John and Emily after completing and exhibiting my film ‘When I Walk,’ which looks at my diagnosis with multiple sclerosis and the seven years after. The film goes through and explores the life cycles and challenges that I’ve had over the past seven years. Now, two years later, I am proposing a new project called ‘When We Walk.’ Find the complete progression of the work linked below. Romans 12:2 Artist in Residence 2015: Jason DaSilva Part 1 By Jason DaSilva Credits: Curated by: Spark & Echo Arts, Artist in Residence 2015 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link I am extremely thankful for the great opportunity to be a part of the Spark & Echo Arts 2015 Artist in Residence program. I was approached by John and Emily after completing and exhibiting my film ‘When I Walk,’ which looks at my diagnosis with multiple sclerosis and the seven years after. The film goes through and explores the life cycles and challenges that I’ve had over the past seven years. Now, two years later, I am proposing a new project called ‘When We Walk.’ It is almost as a follow-up to ‘When I Walk,’ but explores two significant differences. The first thing it looks at is my new relationship with being a father. A couple of years ago, my wife Alice and I had a boy named Jase. The film goes through and looks at my own mental changes and potential doubts of how I could be a father. The second aspect of the film looks at society and how accessibility is something that is critical to the participation of people with severe disabilities like myself. After ‘When I Walk’ was finished, my multiple sclerosis did not stop. It continued on and to this day, I am surprised at the new challenges that I have on a day-to-day basis. After the film finished, I continued not being able to walk and, more recently, I have lost use of much of my upper body and have slowly decreasing vision. These were not things that I expected with MS. ‘When We Walk’ will look at the intersection of these new aspects of my life and will reflect on my place in society today and how people with severe disabilities function in the world. The passage that I chose reflects the themes of the film. It is from the New Testament and still holds very relevant to my current life and to the stories and principles I’d like to pass on to others and Jase as he grows up — Romans 12:2: “Do not be conformed to this world, but be transformed by the renewal of your mind, that by testing you may discern what is the will of God, what is good and acceptable and perfect.” I’ve been shooting the film for two to three years now. I know this sounds like a lot, but in my films this is actually not that long. My films use a technique developed by early cinema called “cinema verite.” Other examples of cinema verite are the Maysles Brothers (‘Gray Gardens’) and more recently Laura Poitras (‘Citizen Four’). During the Fellowship, I will be working on this film and building the story structure, which I have not yet had the chance to do as I’ve been filming every aspect of my life with and without Jase! I thank Spark and Echo Arts again for this opportunity and I look forward to giving more updates in the future as the film progresses. For now, I’ve put up a simple website at www.whenwewalk.com and of course, please do follow the film on its Facebook page ( https://www.facebook.com/whenwewalkfilm ). Trailer for When I Walk Spark Notes The Artist's Reflection Jason DaSilva has been a prolific filmmaker for the past 10 years. He has directed four short films (OLIVIA’S PUZZLE, A SONG FOR DANIEL, TWINS OF MANKALA, and FIRST STEPS) and two feature-length documentary films (LEST WE FORGET and WHEN I WALK). Many of his films have won awards; OLIVIA’S PUZZLE premiered at the 2003 Sundance Festival and qualified for an Academy Award. Three of his films have had national broadcasts on PBS, HBO, and CBC. He also produced Shocking and Awful, a film installation on the anti-Iraq war movement, exhibited at the 2006 Whitney Biennial. Each one of these works advanced Jason’s objective to give voice to those on the periphery of society. In 2006 Jason took a short break from filmmaking to earn his MFA in Applied Media Arts from Emily Carr University. He recently produced and directed an Op-Doc (opinion documentary) for the New York Times called ‘The Long Wait,’ published in January 2013. DaSilva’s latest film, WHEN I WALK, was an Official Selection of the 2013 Sundance Film Festival and won Best Canadian Feature at HotDocs 2013. Following the film’s theatrical release this fall, it will air on POV on PBS in 2014. He currently lives and works in Brooklyn, New York. Interested in learning more about Jason’s creative process? Visit his website at: http://wheniwalk.com/ Website Jason DaSilva About the Artist Artist in Residence 2015: Jason DaSilva Part 3 Artist in Residence 2015: Jason DaSilva Part 2 Artist in Residence 2015: Jason DaSilva Jason DaSilva Other Works By To follow the development of his project as a 2015 Artist in Residence, read his second and third posts. 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