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Loading Video . . . His second work for Spark+Echo Arts, composer Aaron Kruziki created "Ezekiel's Bread" in response to Ezekiel 22:29 and the theme of "poverty." Ezekiel 22:29 Ezekiel's Bread By Aaron Kruziki Credits: Music & Lyrics by Aaron Kruziki Recorded & Mixed by Aaron Kruziki Artist Location: Astoria, Queens Curated by: Jonathon Roberts 2014 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link “Ezekiel’s Bread” is a song composed in response to Bible passage Ezekiel 22:29- The people of the land have used oppression And exercised robbery And have vexed the poor and needy: Yea, they have oppressed the stranger wrongfully It is a passage that spoke to me because we are all people of the land and simultaneous strangers. We oppress ourselves and are then quick to oppress our neighbor, the stranger. I see it every day as I commute on the Q69 bus in Astoria, Queens. I am constantly reminded of this as the bus departs from my neighborhood and goes through others of different affluence. I hear, see and taste oppression as people flow on and off the bus. The oppression is layered as different strangers come on and off. This song is a trip on the Q69. The text and the lyrics are aligned as one. The song follows a 19 measure chord progression that is repeated again and again, building momentum each time the listener is brought to the top of the form. The lyrics are repeated again and again, as instrumentation is added. Sound is used from a daily commute aboard the Q69. 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 When We Lie Aaron Kruziki Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . So far this year, I’ve been looking at commitments. We are the ones who believe in something, strive to make something happen, commit to it, and yet we are also the ones who break those commitments. It’s a contradiction and wrestling we all face in some form or another. Exodus 28:1-5 Exodus 28:29-30 Proverbs 19:20-21 Isaiah 50:7 Hebrews 12:2 Romans 7:15 Artist in Residence 2015: Melissa Beck Part 3 By Melissa Beck Credits: Curated by: Spark+Echo Arts, Artist in Residence 2015 Installation, Film Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link September 14, 2015 So far this year, I’ve been looking at commitments. We are the ones who believe in something, strive to make something happen, commit to it, and yet we are also the ones who break those commitments. It’s a contradiction and wrestling we all face in some form or another. My projects so far, the Disposable Commitments stack of plates and the Flint and Lint glasses look at this in some way. Both seem to focus more on the failure and inadequacies of our nature, which doesn’t exactly leave us feeling great, but know that these are not finished yet. Sometimes the in between, waiting, and unfinished states are the most unclear and yet that is where most of the work is being done. It’s out of sight and beneath the surface. Right now I will say that this is where these two projects lie. In this post I’m giving a peek into a third project. You’ll notice in the clip that I have been working on this since January, hence the snowfall. It’s a video that looks at the subtleness of decisions. In the making and breaking of our commitments, we are essentially making a million little decisions. Often those decisions are so subtle we don’t even realize them until we find ourselves somewhere we never thought we’d be in life. Those decisions weave a thread through our lives everywhere we go, in the people and places we interact with, the work we do, the attitudes we have… Sometimes it’s a lot of pressure to decide if we should do this or live here or take this job or… Exodus 28:1-5 Have Aaron your brother brought to you from among the Israelites, along with his sons Nadab and Abihu, Eleazar and Ithamar, so they may serve me as priests. Make sacred garments for your brother Aaron to give him dignity and honor. Tell all the skilled workers to whom I have given wisdom in such matters that they are to make garments for Aaron, for his consecration, so he may serve me as priest. These are the garments they are to make: a breastpiece, an ephod, a robe, a woven tunic, a turban and a sash. They are to make these sacred garments for your brother Aaron and his sons, so they may serve me as priests. Have them use gold, and blue, purple and scarlet yarn, and fine linen. Exodus 28:29-30 Whenever Aaron enters the Holy Place, he will bear the names of the sons of Israel over his heart on the breastpiece of decision as a continuing memorial before the Lord. Also put the Urim and the Thummim in the breastpiece, so they may be over Aaron’s heart whenever he enters the presence of the Lord. Thus Aaron will always bear the means of making decisions for the Israelites over his heart before the Lord. I read this passage in Exodus earlier this year and was struck by the idea of a decision maker. Aaron was called to be this for the Israelites. What a role. While the chapter hardly relates to our modern day life as it contains mostly detailed instructions on priestly garments, I found the idea of a decision maker to be most relevant knowing we each are our own decision maker and yet we often make better decisions when we don’t do it on our own. So I took pieces from the passage and blended these with our modern day life. I am filming in each season, one season for each of the four colored yarns that are used to make Aaron’s priestly garment. It’s still underway and I am still processing what it is all culminating to. Since it is reliant upon the seasons, I can’t speed up the process. I have to wait. This makes me think about how we often make our decisions expecting visible and immediate results. Yet in reality, our decisions are only the beginning. Any results take far more time to cultivate and then produce something. Often the result is not dependent upon us. So like you, I am watching, waiting, anticipating what these decisions and threads will weave and create. While it may not be as I want or plan, I know that whatever it is, it’s going to be good. Decision Threads (in progress) Spark Notes The Artist's Reflection Melissa Beck ’s work explores elements of the everyday redefining the familiar in unexpected ways so as to reawaken our eyes to what is often overlooked. She is an emerging artist living and working in Brooklyn, NY. Melissa grew up in Los Angeles and San Diego. She achieved her MFA in sculpture at Pratt Institute and graduated in 2013. Her dream is to create large-scale public artwork and to become an art professor. When Melissa isn’t making art, life for her consists of freelance sewing and display work, nanny-ing, dancing, laughing with her friends, visiting the California sun and taking life one step at a time with her Creator. Website Melissa Beck About the Artist Artist in Residence 2015: Melissa Beck Part 1 Artist in Residence 2015: Melissa Beck Part 2 Artist in Residence 2015: Melissa Beck Part 4 Artist in Residence 2015: Melissa Beck Breadth Melissa Beck Other Works By View Melissa's first , second , fourth , and final posts to follow the development of her 2015 Artist in Residence project. Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

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 . . . Author Lancelot Schaubert offers the second release from his inventive three-part mini-series, presented as a small newspaper in response to a collection of Scripture passages. This section focuses on the theme of "overcoming" as found in Romans 8:29-39. Romans 8:29-39 Dragonsmaw Daily | 2 By Lancelot Schaubert Credits: Curated by: Spark+Echo Arts 2020 Creative Writing Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link I wanted the stories featured in this section of the Dragonsmaw Daily to speak to the death we face, to the groaning of creation, and the typical feel of extinction. I think it succeeded in this front — you might need to read it and the passage a couple times to pick up on all the themes. The Dragonsmaw daily is a paper circulating on LOMEDAY of the month of BLAGUROEDD 47 in the year 1109 P.T. on Gergia, one of the Vale Universe ( short story series here ). It may seem like a high-shelf sort of entry for the average reader, something that takes a herculean effort to embrace in terms of the suspension of disbelief or secondary belief in my created world. However, I think it's quite easy: if you'll trust me, it'll read as a wonderfully foreign paper from a wonderfully foreign world. It's ephemera: something like an in-world artifact I happened to pick up from a newsboy who was hawking EXTRA EXTRA EXTRA copies in order to have enough ₮ to get his sister through the week on an onion (actually it's more like a leek) based soup. She beat the fever, in case you were wondering. But I brought it back from Gergia and gave it to my friends at Spark and Echo that it might supplement the stories I've written here and elsewhere about these fantastic worlds I travel so frequently. For those that have followed along in any capacity, this paper tells of events taking place prior to the events in the Moon Boys series from my artist residency and quite far in the past from the other commissions here at Spark and Echo. It occupies the region around the Imperial Crescent in Gergia (top left of the main land mass on that false map I drew of the world) . Each of the events recorded in this paper feature major workings in the region. All together I wanted to bind up the themes of extinction, of power dynamics, and of being lost and found into one piece. So I stitched together three commissions in a more unified form than normal. Of course some parts of the paper will remain out of reach for some time — like any foreign country, Gergian customs and economics and politics only make sense after you've lived there for quite some time. But one day the times, dates, seasons, and currency will make perfect sense to you. And then the dread realization of what the paper really reveals will come all too clear, as clear as a Bell Hammer. Spark Notes The Artist's Reflection Lancelot has sold work to The New Haven Review (The Institute Library), The Anglican Theological Review, TOR (MacMillan), McSweeney's, The Poet's Market, Writer's Digest, and many, many similar markets. (His favorite, a rather risqué piece, illuminated bankroll management by prison inmates in the World Series Edition of Poker Pro). Publisher's Weekly called his debut novel BELL HAMMERS "a hoot." He has lectured on these at academic conferences, graduate classes, and nerd conventions in Nashville, Portland, Baltimore, Tarrytown, NYC, Joplin, and elsewhere. The Missouri Tourism Bureau, WRKR, Flying Treasure, 9art, The Brooklyn Film Festival, NYC Indie Film Fest, Spiva Center for the Arts, The Institute of the North in Alaska, and the Chicago Museum of Photography have all worked with him as a film producer and director in various capacities. Website Lancelot Schaubert About the Artist Artist in Residence 2019: Lancelot Schaubert - Part 3 Artist in Residence 2019: Lancelot Schaubert - Part 2 Artist in Residence 2019: Lancelot Schaubert - Part 1 Posh Girls As Waters Cover Artist in Residence 2019: Lancelot Schaubert Dragonsmaw Daily | 1 Dragonsmaw Daily | 3 Watchtower Stripped to the Bonemeal Metaphysical Insurance Claim 0075A: The Delphic Oracle Philadelphia Bloodlines Lancelot Schaubert Other Works By As with most shared newspapers, some of the pages have been pulled out and are out of order, so you will have to piece them together as the project is released. You may find the other parts of the project at Dragonsmaw Daily | 1 and Dragonsmaw Daily | 3 . You may also view the entirety of the project, here — as a brand new newspaper. Related Information View More Art Make More Art DEATH ALL DAY: From famine to danger to thirst — region faces many threats, yet loves. View Full Written Work Close Loading Video . . . DEATH ALL DAY: From famine to danger to thirst — region faces many threats, yet loves. Download Full Written Work

Loading Video . . . Curator for Spark+Echo Arts and dancer Elizabeth Dishman responds to the theme of "Dancing" from Judges 21:16-24 with her company of dancers, Coriolis. Judges 21:16-24 dance in the dances By Elizabeth Dishman Credits: Collaboratively Choreographed by Elizabeth Dishman + the performers: Leah Ives, Kaitlin Morse, Niko Tsocanos and Caitlin Yuhas Music by Giuseppe Sammartini and J. S. Bach Curated by: Elizabeth Dishman 2013 Dance Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link I initially found this passage really funny and bizarre: the Israelite tribesman make an oath not to give their daughters to the tribe of Benjamin for wives, but later feel sorry for their brothers, whose clan will die out. So they come up with this great idea to have the Benjamites SNATCH and marry the young women who go out to dance in the fields. That way no one breaks the oath, and Benjamin lives on. Such a good idea… It struck me as hilarious, so I imagined a light-hearted dance of joyous, unsuspecting young ladies being watched by a man with marriage on his mind. However, the background story to this scene is horribly grim, involving gang rape, murder and a hideous call to justice from a man bereft of his concubine (Judges 19-21:15). Saving this darker content for a future dance, I decided to create the work based on my initial response to the dancing in the field scenario, but I also thought about what it would be like to try to build a real marriage out of this abrupt and non-mutual courtship. Hence the second section, which reflects the awkwardness and struggle that might have ensued (“so…now what do we do?”). In that culture the groom may not have tried as hard to become a good friend and lover, but I imagined a more present-day pair honestly searching for their footing in an intimate, stolen dance. Spark Notes The Artist's Reflection Elizabeth Dishman is the Artistic Director of Dishman + Co. Choreography, a Brooklyn-based experimental dance company founded in 2001. Originally from Colorado, she studied Voice Performance at Emory University, and Choreography at The Ohio State University. In pursuit of ineffable junctures between the abstract and theatrical, the universal and deeply personal, Elizabeth and her collaborators devote themselves to scrupulous exploration and ardent play, probing the elusiveness of live performance in search of lasting things. Over 15 years and 40+ original works, Dishman + Co.’s choreography has been described by critics as “complex skeins and cerebral dreams”, “bodies in rigorous concentration”, and “playful and provocative…raw humanity seeps in”. www.DishmanAndCo.org Website Elizabeth Dishman About the Artist Tide Terra Firma Visitation Stranger Name Elizabeth Dishman Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

don-nyugen-air4th_first-supper-seating-layouts.jpg Loading Video . . . About this time a year ago, I was one of forty-eight playwrights commissioned by The Flea Theatre to write a short play in response to the York Mysteries Plays, a collection of forty-eight pageants which covered the sacred history of man from creation to the last judgement. Find the complete progression of the work linked below. Luke 22:14-48 Artist in Residence 2015: Don Nguyen Part 1 By Don Nguyen Credits: Curated by: Spark+Echo Arts, Artist in Residence 2015 Theatre Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link April 20, 2015 About this time a year ago, I was one of forty-eight playwrights commissioned by The Flea Theatre to write a short play in response to the York Mysteries Plays, a collection of forty-eight pageants which covered the sacred history of man from creation to the last judgement. It was a daunting task for everyone involved and one of the most satisfying and fulfilling projects I’ve ever worked on. Along with over fifty actors, and our intrepid director Ed Iskander and equally intrepid dramaturge Jill Rafson, we created a stunning theatrical evening, lasting five hours with two intermissions. During the two intermissions, dinner and dessert was served to the audience by the cast. These intermissions not only served as meal breaks for the audience, but also a way to interact with the cast members, who were not in character during the break. To experience this as an audience member, this act of breaking bread with actors who are not only serving you your meal, but serving you a full evening of theatre, was, shall I say, divine. This is not a new form of theatre. Many theatres and many productions have done this in the past. But there is something quite different that happens to the audience during this specific interaction with the cast. We are making eye contact with them, talking to them about their day, and accepting a plate of falafel and hummus from them with the same gratitude of a neighbor being invited over for dinner. You are instantly connected to and invested in the cast and you are ready and willing to follow them anywhere, and the dreaded sound of a five hour play suddenly becomes inviting and exciting. So exciting in fact, that I saw the show five times. But what does this have to do with my project? Well, I’m certainly not going create a five hour evening of theatre. But I do envision breaking bread with the audience. What I propose is a communal evening of theatre, food, improvisation, and game playing based on a section of the Bible. I chose Luke 22:14-48, which covers The Last Supper because it’s the ultimate dinner party. What I envision, and this pushes us into “over-ambitious, likely to fail” territory, is an evening of intimate communal theatre, one that involves a small audience, say, twelve people. And perhaps during the course of the evening, a light meal is served. And perhaps during the meal, each person has to guess who will be Judas. Will it be the person to my right? The person sitting across from me? Will it be me? As I write this, other possibilities come to mind. Perhaps each dinner guest has a menu with personality traits on it that they have to embody. Maybe there are prompts with simple goals that each dinner guest must bring up and try to achieve. There are so many different ways to approach this. The trick is in finding the most interesting and satisfying solution. Throughout the life of this project, I will be broadening my understanding of theatre improv and game theory and attempt to bring them together to design a short evening of entertainment and (hopefully) illumination. The theme(s) of the project are not yet set. I think I’m going to allow the themes to reveal itself during the process of creating the evening, and I’ll be documenting that creative process along the way. I expect to go down rabbit holes that lead nowhere. And I will document that as well. Nothing here is proven, and I’m not sure of the outcome. But I am sure that you will at least see the process laid out throughout the year, and hopefully break bread with me one of these evenings. See the upcoming production of Don’s work The Red Flamboyant with Spark+Echo Arts’ partners, Firebone Theater. April 24-May 15, 2015 Samples of Don’s previous work: (Photo from aerial workshop of THE IMAGINARY ASSOCIATION OF FLIGHT ATTENDANTS) (Photo from SOUND at the Bay Area Playwrights Festival) (My Million Spectacular Moments, Don’s previous work for Spark+Echo Arts) Spark Notes The Artist's Reflection Don Nguyen was born in Saigon, Vietnam, grew up in Nebraska, and now currently resides in New York City. As a playwright, Don has written several full-length plays including: SOUND, a sign language play which was a finalist for the O’Neill National Playwrights Conference and was previously developed at The Playwrights Realm. Don’s first full-length play RED FLAMBOYANT was developed at the Ojai Playwrights Conference and was both a finalist for the Bay Area Playwrights Festival as well as the O’Neill National Playwrights Conference. THE MAN FROM SAIGON has been developed at Naked Angels and was a NYSAF Founders Award recipient. THE COMMENCEMENT OF WILLIAM TAN was developed at New York Stage and Film and was a finalist for the Bay Area Playwrights Festival. Don was also recently one of 48 playwrights commissioned for The Flea Theater’s 5 1/2 hour epic production of The Mysteries, directed by Ed Iskander, which was a stage adaptation of the Bible. Don is a proud member of the Ma-Yi Writers Lab, a member of the inaugural Emerging Writers Group at the Public Theater in New York and served five years as artistic director for The Shelterbelt Theatre. Don is also a frequent volunteer for the 52nd Street Project. Website: thenuge.com Website Don Nguyen About the Artist Artist in Residence 2015: Don Nguyen Part 2 Artist in Residence 2015: Don Nguyen Part 3 Artist in Residence 2015: Don Nguyen My Million Spectacular Moments Don Nguyen Other Works By To follow the developmental process of Don's play read his second , third and final posts as a 2015 Artist in Residence. 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Loading Video . . . This poetic dance piece choreographed and performed by Megan Chu responds to the beautiful imagery in 2 Peter 1:19. 2 Peter 1:19 2 Peter 1:19 By Megan Chu Credits: Choreographed, Performed by Megan Chu Voice-Over by Megan Chu Curated by: Elizabeth Dishman 2018 Modern Dance Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link When I started working with this scripture, I was initially drawn to the imagery of the day dawning and the morning star rising in your heart. It is strong and creatively fruitful, inspiring hope and a stirring a desire for beauty, fluidity, and growth. You will see these images in the movements where I reference my heart, then draw lines out into the horizon. The feeling of cold in the morning before dawn inspired the starkness in the tone of the piece. After using the imagery to generate movement material, I went back to the thought that 2 Peter 1:19 opens with: The message of the prophets is something we can lean on and trust. Our doubtful hearts second guess the gospel as we try to comprehend a God bigger than ourselves, bigger than our actions, and outcomes. Yet the prophetic message in the scriptures keeps us grounded, telling us who Jesus is and drawing us into a relationship with Him. I have incorporated difficult balances into the piece to express the idea of a support that is present, but not available to the senses of touch and sight. These balances take time and repetition to accomplish, similar to the way studying the scriptures takes time and practice. Several readings, several commentaries, several sermons are needed (at least for me!) before the dark places in ourselves are illuminated by turning to the One who is Light. The overall message I received working from 2 Peter 1:19 is that we desperately need to lean into the Word in order to live more confidently in hope. At the same time, we must acknowledge that renewal is not yet complete—we still exist in a broken world. The day has not dawned. Christ still has a lot of work to do in my heart. But there will be a day when the work is done, and I will not be estranged from my Father, Abba. In The letters of 2 Peter and Jude, P.H. Davids writes, "After the dawn, there is no need of Scripture, for the rising of Christ in our hearts gives us full knowledge...One treasures a love letter while the beloved is absent, but once he or she is present, the letter is laid aside and exchanged for the person." Lord, we give You praise for not only wanting to commune with us, but for sacrificing on our behalf to ensure it. Spark Notes The Artist's Reflection Megan Harrold graduated from Virginia Commonwealth University’s department of Dance and Choreography. She has received an Individual Artist grant from the Queens Council on the Arts, an award from VCU’s School of the Arts and the Carpenter Foundation. She has been an artist in residence at the Klaustierd Foundation in Iceland, Newsteps at the Chen Dance Center, Le Feil Artist Residency in France, The Ucross Foundation in Wyoming and Groundworks at the Cora Studios. She founded Inimois Dance to encompass her choreographic works in 2008 which has been funded by Meet the Composer, Queens Council on the Arts, Fractured Atlas and the Untitled SOF grant. In New York her work has been shown at Rooftop Dance, Center for Performance Research, Lincoln Center, Cora Studios, BAX, Dumbo Dance Festival, Ailey CityGroup Theater, AUNTS, and Triskelion Arts among others. Her work has been seen nationally in Maryland, Virginia, Tennessee, Georgia, Wyoming, and Illinois. Internationally Megan’s work has been performed in Mexico, Iceland, Amsterdam and France. In New York she has had the opportunity to perform for Davis Freeman in the P.S.122 COIL Festival, Dai Jian at the MET, Burr Johnson at Danspace, and Helen Simoneau at the Joyce Soho. Website Megan Chu About the Artist Megan Chu Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

benje_daneman_featured.jpg Loading Video . . . It’s my great honor to be a part of Spark & Echo Arts’ 2015 Artist in Residence program. I love who they are, what they have done and what they are doing. I have been very fortunate to have been associated in many ways with them over the past few years. They are passionate, supportive and honest people – allowing their artists to stretch their wings to explore scripture from a truly personal and unique standpoint wherever the artist’s spiritual perspective might be. I’ve grown tremendously in my faith and my artistry from being a part of their program, and am grateful. Find the complete progression of the work linked below. John 1:1-14 John 3:19-21 John 9:1-16 John 11:1-44 John 12:31-36 Artist in Residence 2015 | Benje Daneman 1 By Benje Daneman Credits: Curated by: Spark+Echo Arts 2015 Live Music, Jazz Suite Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link March 16, 2015 It’s my great honor to be a part of Spark & Echo Arts’ 2015 Artist in Residence program. I love who they are, what they have done and what they are doing. I have been very fortunate to have been associated in many ways with them over the past few years. They are passionate, supportive and honest people – allowing their artists to stretch their wings to explore scripture from a truly personal and unique standpoint wherever the artist’s spiritual perspective might be. I’ve grown tremendously in my faith and my artistry from being a part of their program, and am grateful. When approached by S&E to work as an artist in residence this year I was excited at the possibilities of it. After some thought, I realized it was great opportunity to approach two different projects that have been ruminating in the back of my head over the past few years: The first being a musical exploration of how the the book of John utilizes “light”. The second would be compiling a band of high level jazz musicians within New York City that also claim Christianity as their faith grounding. With this group, the idea would be approaching music that is based upon faith ideas or scripture from a similar faith standpoint (while even within that standpoint, our personal views and thoughts of Christianity might be diverse). My Faith Search As I’ve grown in my own faith over the past year, I’ve realized the depth, diversity and difference within the current “Christian” world. While some see differences as threatening or challenging, I have actually approached this positively and have been quite interested in it. Just as our world and people are extremely diverse in many ways, so is the faith of Christianity. Spanning from an extreme liberal approach to an extreme conservative, people view the “holy scriptures” in such unique and different ways – while keeping Christ as the center of it in both camps. The different approaches, creeds and thoughts have in many ways inspired me to search within and connect with God in my personal journey. While I believe in Christ, and have seen how He has positively changed my life, I have been convicted to open myself up to searching out who and what Christ really is to the world and myself. I’ve found it to be a bit more complicated than just reciting a prayer, believing a creed or faithfully accepting scripture alone. I’ve found myself on a personal and real faith search – a place where I believe we all should be; continually growing and searching in our faith in discovering who God is. I have a sense that his year and this project will be a pivotal moment in that search for me. The Process I have found one of the best ways for me to personally explore and grow in my faith comes through music composition. I find the time to be, in a sense, my prayer and meditation time allowing me to a way to personally explore what scripture is saying uniquely, which to me is more productive and personal than just reading and processing it within. One major method teachers use to test comprehension is having a student teach another student the concept (yes, I do have a music education degree!). When I must express it through my musical writing, I feel it’s similar to the way a student might learn through teaching another student a concept. I find myself having to sift through the deeper concepts, allowing the scripture to ruminate within and making real world decisions about it. I usually come out the other end inspired, thoughtful and greatly changed. The Composition The phrase “The Light in the Darkness” has always stuck out to me in the book of John, taken specifically from John 1:5 (The light shines in the darkness, and the darkness has not overcome it.) Over the past few years I’ve been considering the idea of a “musical study” of how the book of John uses light as a theme throughout. After S&E approached me for the residency, I knew the time had come. I’ve chosen the following scriptures to focus on: John 1:1-14 John 3:19-21 John 9:1-16 John 11:1-44 (focus 1-16) John 12:31-36 (focus 35-36) Light is used in different ways throughout these specific scriptures. Many of them controversially interpreted depending on “which side of the fence” one theologically stands. Either way, the light almost always speaks of Jesus, his power and his greatness. I look forward to studying, searching and exploring these scriptures. My overall plan is to produce an hour-long composition/suite to be performed live and potentially professionally recorded. Search Party (The Band) For nearly two years now I’ve had a vision in the back of my mind of initiating a band of not only fantastic jazz musicians, but ones who also claim Christianity as being their faith foundation. As you can imagine from my faith search description above, I want honest, diverse and truthfully searching musicians. My definition of “Christian” has no specific theological necessity, just that the members claim to be a “Christian” (whatever that might mean to the individual is personal, as I’ve found it means different things to different people). From there though, we can at least be coming from a similar foundation and point. The plan for the group is to approach music that is based on faith and upon scripture, and to grow both in our faith and personally together. The definition of a Search Party is “A group of people organized to look for someone or something that is lost.” This is my definition of Search Party as it relates to this band: “A group of like minded musicians, searching for a deeper faith understanding within the music and personally.” I’m not searching for a specific goal, but for specific growth – both musically and faithfully, through the vehicle I am so familiar with: music. I’m very excited and truly honored to have tentatively secured the Search Party Band to include the following musicians (all of them being some of the top in their musical field): pianist, Jon Cowherd; bassist, Ike Sturm; Drummer, Jaimeo Brown and vocalist, Ashley Daneman. The End Product While I hope to maintain and continue this band as one of my ongoing projects, for the residency specifically, my plan is to write a full composition/suite of music (around an hour at length) based upon the chosen scriptures. My plan is to debut this at a musical venue within New York City around November/December 2015 (location to be announced) and potentially record the music professionally around the same time, if the funding and opportunity becomes available. In addition to the performance, I do hope to couple it with an open discussion/talk about my process and what I have taken from my “Search” through the process. It will be open and geared to the public and for all faiths, not just Christians. Spark Notes The Artist's Reflection About Benje Daneman A sought after musician for his personal approach, creative musicality and strong versatility, Daneman got his start professionally in 2007 on a national tour with with Doc Severinsen’s Big Band. Since then he has performed with the world renowned Jose Limon Dance Ensemble, recorded for the Grammy nominated album “Elevation” (HMI Big Band) and has appeared as both a leader and sideman at prestigious venues across the country including The Kennedy Center, Baryshnikov Arts Center, FONT (Festival of New Trumpet) Music Festival and The Iridium. As a composer/arranger, he has received commissions from the United States Air Force Band (in Europe), Dr. Steve Zegree, Spark and Echo Arts and Lutheran Music Missions. His 2015 Artist in Residence for Spark and Echo Arts, is the catalyst for one of his newest projects called Search Party which approaches faith topics through original music, with a band including some of the top musicians on the jazz scene today, including Ike Sturm, Jon Cowherd, Jaimeo Brown and Ashley Daneman. Another new project of Daneman’s, Life Stories, calls upon his deep interest and history in musical storytelling by musically creating a personal and unique experience for the audience by aurally recreating true stories of people places and events. Daneman’s 2013 EP release Estelle’s Farewell Gift features all original compositions featuring Jeremy Siskind, Ashley Daneman and Andrew Rathbun and has been described as “Simple songs that open doors to complex reactions” (David Sumner, Bird Is The Worm). A Teaching Artist for the New York Pops, Daneman is a passionate educator and has led clinics and workshops throughout the country at such institutions as McNally Smith College, Western Michigan University, Concordia University and for the Michigan State Band and Orchestra Association. He is also the co-director of the Jazz & Creative Institute (http://www.jcinstitute.org), which has a mission to inspire artistic development and cultivate creative entrepreneurship for all levels of creative musicians. Benje has attended and holds degrees from Western Michigan University, The Henry Mancini Institute (Los Angeles, CA), and Manhattan School of Music (New York, NY). Benje lives in New York City with his wife, jazz singer-songwriter, Ashley Daneman and daughters, Rivi and Elise. Website Benje Daneman About the Artist Artist in Residence 2015 | Benje Daneman 2 Artist in Residence 2015 | Benje Daneman 3 To Lay Down One's Life Artist in Residence 2015: Benje Daneman Benje Daneman Other Works By Follow the development of Benje's project by reading this in addition to his second , third and final posts as a 2015 Artist in Residence. Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . Artist Phyllis Thomas' piece responds to the theme "Harvest" from Ruth 2:20. Ruth 2:20 Harvest Psalter By Phyllis Thomas Credits: Curated by: Emily Clare Zempel 2013 24 x 24 inches Acrylic with gold thread stitching on paper adhered to wood panel Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link The Bible is an agrarian world from the Old Testament to the New. There are two dozen references of sowing, reaping, seed-time and harvest which mark the natural rhythm of the calendar. Growing up on a farm, I know the plenty of harvest and leanness of drought. That experience gives me some insight to the short story of Ruth that embodies a harvest theme. It is a love story and redemptive narrative with a turning point in chapter 2 when Ruth returns with an ephah** of grain to give to her mother-in-law, Naomi. It includes other contrasting themes; distress versus hope, emptiness versus fullness and poverty versus prosperity. Because there are so many contrasts, I settled on a simplified image of color and contrast enhanced by gold threads which become a musical instrument for accompaniment to a song of praise I believe Naomi and Ruth would have sung at this crucial point in the story. God’s extravagant provision through Boaz’s kindness reveals compassion for the poor and hope for redemption to this mother-in-law and loyal daughter-in-law and that is a psalm of joy to me. References: Ruth, Chapter 2 * Psalter, Gr. psalterion, a harp ** Hebrew unit of dry measure; about 5 gallons Spark Notes The Artist's Reflection Phyllis Thomas ’ art career began as an art educator immediately after completing a degree in Secondary Art Education from Manchester University, North Manchester Indiana. After teaching and marriage, she changed directions and continents and joined her husband as a missionary to Kenya, East Africa where she and her family resided for nearly two decades. That journey enriched her life and still influences the colors and textures of her work. Thomas returned with her family to the USA in 1997 and has spent the last 16 years in an ongoing journey re-inventing her work as a painter and re-acquainting herself with the art community. As a former educator, she makes research and reflection primary to her contemporary water-media process and occasionally uses thread, gold and silver leaf as enhancement and added texture. The artist has exhibited locally, nationally and internationally in solo, juried and community shows, including Manchester University, N. Manchester IN; Cairn University, Langhorne, PA and White Stone Gallery, Philadelphia PA. Phyllis’ art-making is not only about the art; it’s the people she meets along the way. Now residing in Florida with her husband, she has organized local community art events and workshops in Orlando, Grunewald Guild in Leavenworth WA, as well as Uganda and Kenya, East Africa and is passionate about helping artists of the next generation find their creative calling. Photo by Studio T. For more images, and reflections, visit www.phyllisthomasart.com ; www.phyllisthomasart.blogspot.com Website Phyllis Thomas About the Artist Phyllis Thomas Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . Artist Jason Jaspersen brings us this animated image in response to the theme of Eavesdropping and Ecclesiastes 7:21-22. Do not pay attention to every word people say, or you may hear your servant cursing you- for you know in your heart that many times you yourself have cursed others. Ecclesiastes 7:21-22 You Yourself By Jason Jaspersen Credits: Artist Location: Minnesota Curated by: Charis Carmichael Braun 2014 Mixed media, digital image Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Technology connects us in amazing ways. The Spark and Echo project, for example, gathers people around the Bible and art in new and exciting ways. Skype gives grandparents an occasional fix while away from their little buddies. I can call my wife for clarification when I'm picking something up for her at the grocery store. Collaboration with colleagues and students has become easier with shared documents. However, like anything else in this world, a good thing can be wrecked. The wonderful connectivity that tech companies like to show off in their advertising has a dark side. Especially relevant to this project is the idea of digging around in private information-eavesdropping. Eavesdropping manifests itself in a variety of ways today. Hackers mining personal information, governments monitoring emails or phone calls, hidden webcams, flying camera drones, and gps tracking all use today's connectivity in intrusive ways. As the boundaries of personal privacy disintegrate and connective technology marches forward, I'm reminded of Jeff Goldblum's character in Jurassic Park. He said, "your scientists were so preoccupied with whether or not they could that they didn't stop to think if they should." What happens when someone listens in on private conversations? In this artwork, a girl is shown holding a glass to a wall to hear better what is happening on the other side. She is not invited into the conversation, nor is her presence desired. Those are some of the factors that make her so intrigued. She listens intently. What's happening in there? The artwork is an animated still with color morphs and flashes to signify the main character's burning curiosity. God has some advice regarding eavesdropping. "Do not pay attention to every word people say, or you may hear your servant cursing you for you know in your heart that many times you yourself have cursed others." Ecclesiastes 7:21-22 NIV According to this verse, eavesdropping may lead to disheartening results. An honest self-examination will certainly implicate the listener. The message here is really that we're not that different and there's really nothing exciting to hear! You may become privy to some juicy gossip, but would it be any different if someone started digging into your life? Should anyone be surprised to find themselves insulted or threatened when digging into private matters? Thus the artwork here provides a visual reflection of the main character. In a twist of the senses she listens to her reflection. The conversation she strains to hear is really her own voice. Perhaps the reflection is another person listening to her, perhaps she only hears herself. And maybe today's prevalent voyeurism indicates a society of people trying to find their own identity. So what do we get out of this? Some things in this life aren't worth worrying about. Focus on how God has done good to you rather than on how others have wronged you. Spark Notes The Artist's Reflection Jason Jaspersen is a creative generalist working with a variety of visual media. His creative work honors both the weight of history and the thrill of the process. He's interested in exploring Christian themes with traditional physical media such as oil paint, printmaking, and sculpture but doesn't shy away from digital media such as motion graphics and animation. He often uses an expressive representational style to tell a story and highlight shared experiences. Jason lives, creates and teaches in his homey hometown of New Ulm, MN. Follow Jason's studio process and projects at jjjaspersen.com Website Jason Jaspersen About the Artist Jason Jaspersen 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 intimate poem by multi-disciplinary artist Adrienne Oliver invites the reader to explore love through patience and constancy in response to 2 Peter 3:8-10. 2 Peter 3:8-10 Child of Promise By Adrienne Oliver Credits: Curated by: Laura Eve Engel + Rebecca Testrake 2018 Poetry Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link There is a patience in devotion; a giving not just of one’s self, but of one’s time. Devotion is enduring and unwavering, constant in its endless generosity, drawing strength not from the heart really, but from the subject of the heart’s attachment. Motherhood is faithful, and here the faithful are called to do as mothers do: devote one’s whole self, body and soul, with trust. Spark Notes The Artist's Reflection Adrienne Oliver is a performer, educator, and writer. Her work explores the intersection of the mundane and magical. Through memoirs and multi-modal explorations, she seeks to highlight the nuance and performance of both woman and motherhood. Her essays and poetry have been featured in several digital publications and journals as well as Tribe de Mama, The Village Magazine, Parents Magazine, and Mama, Bare . She lives in Charlottesville, Virginia with her daughter, Pearl. Website Adrienne Oliver About the Artist Adrienne Oliver Other Works By Related Information View More Art Make More Art Beloved, sweet mystery of patience, summation of these thousand silent vows. suspended in promises divine, shrouded in your permanence, I remain. View Full Written Work Child of Promise By Adrienne Oliver Beloved, sweet mystery of patience, summation of these thousand silent vows. suspended in promises divine, shrouded in your permanence, I remain. heart in hand, padding hallways, a small penance for sudden constancy. steady fervor scuttles me ever forward. breath builds, and laps over memories. echoing might rings, as a thousand bells. until, as the dawn, you break me sneaking ambush of spirit. and the heaving sky will bear you earthside, and we and you and I and this deafening world will melt in the fires of love until forever. Idling champion of my redesign, I am awakened. Close Loading Video . . . Beloved, sweet mystery of patience, summation of these thousand silent vows. suspended in promises divine, shrouded in your permanence, I remain. Download Full Written Work

Loading Video . . . Filmmaker Victor Carrera has created this meditative response to Lamentations 2:18. Lamentations 2:18 TEARS By Victor Carrera Credits: Curated by: Spark+Echo Arts, Selected from Artist Submissions 2015 Film Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Day and night there is a vivid lament at the heart of God. Sometimes the lament is soft, other times is loud. It is never cold, but is always pure. A Bride cries an infinity cry. Her tears fall over the wall of Zion. She asked God, "How it is called the waterfall?" He replayed, 'The Cry of the Bridge.' God employs tears to calm the Bride. She ends her cry at the Heart of God. Spark Notes The Artist's Reflection Victor Carrera’s greatest passions are God, youth ministries, evangelism, and beautiful art. He has experience in lecturing and teaching in Bible, Story and Film, in mentoring writers and discipleship, and in producing inspirational content with images, sounds and words. He is the founder and Creative Executive of Kingdoministry -Hope. A project in its 4th edition, in which creativity, academics and other initiatives come to live: www.kingdoministry.org Website Victor Carrera About the Artist Victor Carrera Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work