serpentspeaks.jpg Loading Video . . . Premiered on May 28, 2010, The Serpent Speaks by James Hall, is a composition for jazz sextet + two actors, setting Robert Siegel's poem of the same name. The piece reflects on the fall of man in Genesis 3. Genesis 3 The Serpent Speaks By James Hall Credits: Music by James Hall Text by Robert Siegel Musicians: Emily Clare Zempel, voice; Jonathan Roberts, voice; Jacob Teichroew, saxophone; James Hall, trombone; Ryan Ferreira, guitar; Ike Sturm, bass; Ziv Ravitz, drumset; Mike Truesdell, percussion Venue: St. Peter Church, Manhattan Poster design by Christopher Domig Artist Location: Brooklyn, New York Curated by: Jonathon Roberts 2010 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link I first read Robert Siegel's The Serpent Speaks in 2007, as my love of poetry was just being sparked. Though I was immediately interested in setting the poem to music, it wasn't until receiving a Fellowship at the Trinity Forum Academy that I had the time and resources I needed to realize the project. My setting of The Serpent Speaks blurs distinctions between composition and improvisation using a mixture of verbal cues; traditional, and non-traditional notation. The style blends free and contemporary modal jazz with spoken word. Spark Notes The Artist's Reflection James Hall is a trombonist and composer from Nebraska based in New York City. A versatile musician, his projects have spanned jazz, classical, latin, and popular music in the US and Europe. As a composer and bandleader, James was named a finalist in the ASCAP Morton Gould Young Composer Competition, won three ASCAPlus Awards for composition, and was a featured performer/composer at the 2012 Chelsea Music Festival . As trombonist in Williamsburg Salsa Orchestra , he has performed at B.B. Kings', S.O.B's, MassMOCA, The Kennedy Center, The Blue Note Jazz Festival, and has appeared in the pages of Rolling Stone Magazine. He has appeared on several recordings with Postmodern Jukebox , with whom he has toured Europe and the US. James' trombone playing earned third place, runner-up, and honorable mention in the Antti Rissanen , J.J. Johnson , and Carl Fontana International Jazz Trombone Competitions, respectively. James' first CD as a composer/bandleader was released in October 2013. Entitled " Soon We Will Not Be Here " by James Hall Thousand Rooms Quartet, the body of work sets contemporary poems by NYC-based poets to 3rd-stream chamber music. His sophomore release, "Lattice," is currently in post-production. James holds degrees from the Lawrence Conservatory of Music in Wisconsin and Aaron Copland School of Music in New York. His teachers have included Luis Bonilla, Hal Crook, Michael Dease, Nick Keelan, Ed Neumeister, and Fred Sturm. Photo by Bill Wadman. Website James Hall About the Artist Of Blood and Water James Hall Other Works By View the Full Score Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . “The Capture” and “The Escape,” written by Nicolas Destino, respond to Jeremiah 13:20 and the painting, “From the North” in further correspondence with Spark+Echo Art’s “Sheep” theme. Jeremiah 13:20 The Capture, The Escape By Nicolas Destino Credits: Curated by: Seth Hiler 2012 Poetry Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link “The Capture” and “The Escape,” written by Nicolas Destino, respond to Jeremiah 13:20 and the painting, “From the North” in further correspondence with Spark+Echo Art’s “Sheep” theme. “Lift up your eyes, and behold them that come from the north: where is the flock that was given thee, thy beautiful flock?” (Jeremiah 13:20, KJV) Like the missing flock from Jeremiah’s passage, Nicolas notes that in his writing he “invests in the constellation of objects within a landscape, [so] that which is missing from the story is often more tangible than what’s explicitly narrated.” Spark Notes The Artist's Reflection Nicolas Destino ’s work has appeared in The American Poetry Journal , Bellevue Literary Review, Broadsided Press, 322 Review, Barge Journal, As It Ought To Be, Assaracus, Verse Daily, and others. He is author of the double chapbook, “ Of Kingdoms & Kangaroo ,” First Intensity Press, and his first full length poetry collection, “Heartwrecks,” is forthcoming through Sibling Rivalry Press, in February 2013. He works as a part-time English professor in New York and New Jersey. Website Nicolas Destino About the Artist Nicolas Destino Other Works By Related Information View More Art Make More Art The Capture If you're counting on the arrival of soft creatures, some miracle, forget it. They won't come. View Full Written Work Close Loading Video . . . The Capture If you're counting on the arrival of soft creatures, some miracle, forget it. They won't come. Download Full Written Work

Loading Video . . . Actor Mike Domeny brings to life the battle of Gideon and his army of 300 from Judges 7. Judges 7 UnderDog or UnderGod? By Mike Domeny Credits: Headshot by Michael Cinquino Curated by: Matthew Moore 2023 Scripture Performance Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Facing an enemy army numbering 135,000, Gideon's modest 32,000-warrior army was already an underdog story in the making. However, God looked at Gideon's army and saw too much of a cushion. An underdog story, after all, praises the gritty, "we can do this!" attitude of the underdog, and God didn't want Israel to be able to take the credit for his victory. And although God stacks the odds so against Israel's favor that they can only be in His, we still see Gideon rally his troops with a declaration of God's power and his own leadership. It leaves us with a twinge of thinking, "Gideon, why are you adding your name to the victory?" It's a little uncomfortable, and it taints this otherwise empowering story. We want to think of Old Testament heroes as juggernauts of godliness (Gideon is, afterall, featured in Hebrews 11's "Hall of Faith"), but we have to wrestle with the reality that they, like us, are capable of great acts of faith, mixed with questionable choices that reveal their selfish, sin-bent humanity. This chapter of Gideon's story still ends in victory, but his downfall came soon after (see Judges 8). God doesn't want an underdog story. He wants an under-God story. Can you fulfill the mission God put on your life, while surrendering your desire to etch your name next to God's in the record books? Judges 7, New Living Translation Spark Notes The Artist's Reflection Mike Domeny is a speaker and performer who helps people engage with the Bible in a conversational, approachable way through short-form videos, online resources, and live presentations. Mike founded Outloud Bible Project to help people recognize their role in the conversation of the Bible by reading the Bible out loud on screen and on stage. He is the author of Thrown off Script , which draws on his decade of professional improv experience to help readers recognize unexpected changes as opportunities to grow closer to Jesus. He co-founded The Grove: Kingdom Creativity Collective to nurture and equip creative Christians to pursue their God-given mission. "Everything you need to live a fulfilling, impactful life can be found in the Bible." -Mike Domeny Website Mike Domeny About the Artist Luke 2: Unlikely Invitations Mike Domeny Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

joshua-cave_efforts.jpg Loading Video . . . Visual artist Joshua Cave has explores the theme of "Fools" from the perspective of Galatians 3:1-5. Galatians 3:1-5 Efforts By Joshua Cave Credits: Curated by: Spark+Echo Arts 2013 21 x 16 inches Latex, Stain and Graphite on Plywood Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Sincerity seems a most elusive human quality, capable of inhabiting the words, acts and works of an individual, elevating them beyond their human origin. I pray I learn to sincerely apply the gifts I have been given. Spark Notes The Artist's Reflection Joshua Cave was raised with an overly encouraging mother who curated the refrigerator with enthusiasm. He responded to her faith in him: drawing himself through high school, into an art major, and -- to his own surprise -- finally into a full-time fine art pursuit. He now spends most of his time dancing the lines between painting, sculpture and installation, always in pursuit of a cohesive truth that defies distinct aesthetic or conceptual clarification. He lives and works in The Bronx, NY. Website Joshua Cave About the Artist Joshua Cave Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Untitled Grace Child Janna Aliese Loading Video . . . The work of visual artist Janna Aliese contemplates simultaneously being needy and fed in response to Acts 4:33a-34b: "And God's grace was so powerfully at work in them all 34 that there were no needy persons among them." Acts 4:33-34 Untitled (Grace) By Janna Aliese Credits: Curated by: Jonathon Roberts and Emily Clare Zempel 2012 16 x 20 inches, edition of 10 Digital C Print Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link What if a concept so potent and abstract as grace were so viscerally actualized that no person within a community were in need? In what type of unknown utopia would we live were there a Force so powerful that neither you nor I nor any of our friends felt any need whatsoever? This image seeks to consider two constructs: the act of community found in the sharing of wine at communion; and figure of a child, suspended in time and holding a bowl-like object, as if he were hovering along the fringe of time's seashore — at play yet in a posture of petition. The enigmatic quality of this figure proffers consideration of the grace available in another world. He is, nonetheless, caught between these two worlds: simultaneously fed and hungry — a creature of Metamodern considerations. Spark Notes The Artist's Reflection Born in Los Angeles and raised in the Pacific Northwest, Janna Aliese ‘s present base in New York has proved fruitful to her work in interdisciplinary collaboration, photography, sound, installation, writing, and drawing. Currently pursuing a Master in Fine Arts at Hunter College, she is a graduate of Asbury University, has studied at the School of Visual Arts in New York City, and completed an artist residency in Beijing, China, with Art International Residency Projects. She is the former Center Coordinator at the New York Center for Art & Media Studies (NYCAMS), and was the Collaborative Visual Arts Curator for the 2012 Chelsea Music Festival, which included, among other shows, curating OPEN CAGE: NEW YORK, a 75-person performance at Eyebeam Center for Art + Technology, [ON SILENCE], a group exhibition at NYCAMS, and Silence, an interdisciplinary collaborative performance at the Rubin Museum of Art. She has exhibited her work internationally. Website Janna Aliese About the Artist Janna Aliese Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

! Loading Video . . . Lighting and set designer Dante Olivia Smith manipulates light with water and salt in response to the theme of "healing" and 2 Kings 2:21. 2 Kings 2:21 Untitled (Olivia Smith) By Dante Olivia Smith Credits: Artist Location: Seattle, Washington Curated by: Michael Markham 2014 Salts, Rice Paper, Light Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Light is transformative, the presence or absence of light can completely change what we see and how we see it, literally and psychologically. Our relationship to light is primal, light and heat have been historically in-separable until only recent technological advances. We require light as fuel for the food we grow. Light is a need for human life akin to breathing and yet we almost never think about it unless it is absent. Light as a medium presents a bit of a conundrum. On one hand everything you see is light. Everything. When light shines on a object- say a red shirt, and the shirt absorbs all portions of the visible spectrum except red, which the shirt reflects back to your eye- condensed, you don't see the red shirt you see light. On the other hand, with out an object to reflect it, light is worthless to a viewer. In theatre, outside of perhaps a laser light show, there is little point to lighting an empty room, an audience is there to see actors. As a lighting designer, my job is to structure how and what the audience sees. This section of text speaks to me much in the same way that light does. The transformation of the earth from barren to fertile, A return of life and the discovery of it anew. Spark Notes The Artist's Reflection Dante Olivia Smith is a lighting and set designer based in New York. She was drawn to theatre and lighting at an early age when awestruck by a shadow puppetry performance. This moment cemented her trust in the power of storytelling to inspire imagination and encourage change. Recent work- New York: Sarah Flood in Salem Mass (The Flea) Carcass (HERE Arts) Waiting for Waiting for Godot (The Collective) Tender Napalm, Love in Transit (The Shop) Suicide?! Romeo & Juliet (Empirical Rogue, Resident Designer) Stabat Mater Fabulosa (Morningside Opera), In the Company of Jane Doe, Modern Dance for Beginners (Cake Productions). United States: Warren (or) Those People (Boise Contemporary Theater) Monopoly, How Theatre Failed America (Mike Daisey) Final Broadcast (Umo Ensemble). She also had the pleasure of designing the first production of Tony Kushner’s The Henry Box Brown Play . In addition to her own work Dante has been fortunate to travel around the country and world as a lighting assistant and supervisor. MFA, NYU/Tisch Department of Design for Stage and Film; BFA, Cornish College of the Arts in Seattle, WA. Website Dante Olivia Smith About the Artist Dante Olivia Smith Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . Writer Lancelot Schaubert explores the meaning of words and translations in this poem responding to Luke 8:19-21. Luke 8:19-21 Philadelphia By Lancelot Schaubert Credits: Photo Credit by Dan Mall on Unsplash Curated by: Rebecca Testrake 2023 Poetry Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link These three pieces work in tandem. They're meant as a running commentary on (1) the sorts of people who are close to us who reject the work of the miraculous in our lives and through our lives, (2) the kinds of silly exegetical traditions that exist as little more than a prop for church splits, (3) the metaphysical absurdity of the miraculous as the miraculous, when it happens, (4) a call to see James as a miracle worker in his own right, a cousin, and someone who would have been as baffled as anyone else — though joyful — in the presence of the miraculous. Sometimes the "sons of Thunder" stuff becomes such a focus, I wanted to focus on something else for St. James. To see the other pieces from Lancelot, click the links below: Bloodlines Metaphysical Insurance Claim 0075A: The Delphic Oracle 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 | 2 Dragonsmaw Daily | 3 Watchtower Stripped to the Bonemeal Metaphysical Insurance Claim 0075A: The Delphic Oracle Bloodlines Lancelot Schaubert Other Works By Related Information View More Art Make More Art It would be terribly inconvenient If ἀδελφός meant fellow countrymen Or fellow man or business fellowship View Full Written Work FOR LOVE OF COMMON WOMBS UP THE BLOODLINE. By Lancelot Schaubert It would be terribly inconvenient If ἀδελφός meant fellow countrymen Or fellow man or business fellowship Or brethren in faith, step-brothers, or meant Cousins. “Cousins” throws a wrench in the wren, Metal to make wings spiral on downward: Fallen angels or men melting wax strips? Two yokels talk at the scene of The Fall: “Thought those were his brothers?” “Nope, just cousins.” It takes one trip to Philadelphia To realize “same womb” can mean mom, mother, Or sometimes an earlier womb bygone. For they treat each other less with fiat, More like Middle Eastern cousins with bombs: “Me against my brother; me and brother Against cousin; me and my cousin, you.” First same womb, same dad; same womb, diff dad; Then same womb of my dad’s dad’s dad’s dad’s— Father Abraham had many sons, sons Father Abraham. I am one of them And so are you, so let’s just praise The Lord. From stones, he said he could raise up cousins, But somehow cannot do so from cousins? “Is not this the carpenter, the son of Mary and ἀδελφός of James, Joses And Judas and Simon, and are not his sisters here with us?” And they took offense at him. Jesus said to them, “A prophet is not without honor, except in his own country, and among his own cousins and in his own house.” Do we seek context? Do we even try to understand it, To see what’s right before our eyes? Mirrored? I could stack citations up, up skyward; Speak up of all the times translation slips Two yokels stare, hear the scene of Our Fall: “Nope, just brothers.” “Thought those were his cousins?” It takes one trip to Philadelphia To realize sometimes there’s a crack in bells Allegedly first sounded for freedom. Is our faith so fragile? We Protestants? Need we preserve our Quincentenary Bitterness with flimsiest evidence? Do we even know about the third one? The third Mary? “Standing by the cross of Jesus were his Mother (Mary), his mother’s ἀδελφη, Mary the wife of Clopas, and Mary Magdalene.” Poor James. To be denied sainthood simply To sully the virgin status of Aunt Mary. Philadelphia’s stones still crack. Cracked. Stoned. The oracle at Delphi was Virgin. And the dolphins get to take shape Of virgin wombs, so does Numbers 30 (The perpetual virginity verse For married women who have had their kids). But not she who bore the body of God. It’s not good enough for her. Ignore texts: Let her also bear a Bro — Jimmy’s body Close Loading Video . . . It would be terribly inconvenient If ἀδελφός meant fellow countrymen Or fellow man or business fellowship Download Full Written Work

Loading Video . . . Poet CM Davidson struggles with the theme of "poverty" and Isaiah 58:6-11 in his work for Spark+Echo, Yoked. Isaiah 58:6-11 Yoked By CM Davidson Credits: Artist Location: Southern California Curated by: Chris Davidson 2013 Poetry Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link The passage from what's called "Third Isaiah" suggested a process as natural as photosynthesis: Fast by action, in this case, free the oppressed and give what you (as a people) have to those among you who need it. The result will be God's favor, restoration, and greater abundance than you already enjoy. Walter Brueggemann provide conceptual grist for the poem. He writes, of this passage, It turned out that the "facts on the ground" in restored Jerusalem were modest and shabby when contrasted with the lyrical anticipations of Second Isaiah.1 This helped me think of the narrator as someone who, in the midst of his comfort and security, feels ill at ease, dislocated. This is a common theme for literature of the last couple hundred years, but it was new to me to think that the source of that dislocation is that the privileged are the invisible ones, not the poor (verse 7). The existence of poverty and injustice doesn't divide us from "the other" but from our brothers and sisters, from‚ it seems banal to write it so directly‚ ourselves. It should be said that what attracted me to these verses is not equivalent to what the poem expresses. As all poems do, this one found its own path. 1 Walter Brueggemann, An Introduction to the Old Testament: The Canon and Christian Imagination Spark Notes The Artist's Reflection CM Davidson’s work has appeared in Zyzzyva, Green Mountains Review, Zocalo Public Square, The Rumpus, and elsewhere. He lives in Southern California with his wife and sons. He sporadically keeps up a blog, 52songs.blogspot.com . Website CM Davidson About the Artist CM Davidson Other Works By Related Information View More Art Make More Art Woke this morning two snoozes past the alarm 's first call. Showered. Dressed. Breakfasted on a bowl of puffed rice and milk and three cups of coffee. View Full Written Work Yoked by CM Davidson Isaiah 58:6-11 Woke this morning two snoozes past the alarm’s first call. Showered. Dressed. Breakfasted on a bowl of puffed rice and milk and three cups of coffee. Asked my wife for Kaiser’s number, since my shoulder aches. Gathered things in my bag and drove in my car my son to school, myself to work, where I wasted time online, talked on the phone with a colleague, entered a budget by deadline. From those who live under the overpass I pass daily, I’m told I’m concealed, and from the imprisoned and hungry with nothing to wear I’d wear myself, I’m concealed. My body I’m told is distorted by nourishment, my shirt, shoes and pants hide me from my kin. I’m told the sadness I feel everyday will be a light by which to see, if I act, that our sadness, people, I’m convinced it’s more than just me, is a latent garden, a spring of water, a continual, renewing spring of water, light and water bringing, through action in leaves described and unlearned, food for the table. This is the promise, dejection the goad. Our parents in exile sang to each other songs of a land like this— their hope was in it, and we have it. Close Loading Video . . . Woke this morning two snoozes past the alarm 's first call. Showered. Dressed. Breakfasted on a bowl of puffed rice and milk and three cups of coffee. Download Full Written Work

Loading Video . . . Playwright Christina Gorman responds to the theme of "Lies" from Jeremiah 5:1, as well as to the 2013 rescue of the women kidnapped in Cleveland in this piece: "The Grey Ladies," read by actor Seth Moore. Jeremiah 5:1 The Grey Ladies By Christina Gorman Credits: Read by Seth Moore Curated by: Emily Clare Zempel 2013 One-Act Play Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Just as I started thinking in earnest about this project, three young women in Cleveland were rescued from ten years of captivity in a house in the heart of the city. The reports hammered home the evil, and the horror, and the growing depravity of humanity. I was riveted by the women's plight. How did they survive it? I kept thinking, within or surrounding the greatest of evils, there must be some sliver of good they helped one another to hold onto. How might that manifest itself? In a person? In a child? In a mother? Perhaps, yes, and in the case of the piece I ended up writing, also in a police officer. Striving to be the good and to find the good is ennobling, and I wanted to illustrate that. I wanted to write about in Jeremiah 5:1 the "one person who deals honestly and seeks the truth." That person may not be saintly and perfect, but they are looking for and striving for goodness, and that's to be celebrated. Spark Notes The Artist's Reflection Christina Gorman developed her latest play, Orion Rising , at the New Harmony Project as part of their Spring 2012 Conference and at the Lark Play Development Center. Her play American Myth has been awarded the 2012 Blue Ink Playwriting Award from American Blues Theater in Chicago, where it will be produced in 2014. The play was developed while she was a member of The Public Theater’s inaugural Emerging Writers Group and where it was presented as part of The Public Theater’s Spotlight Series. The play was also presented in the hotINK International Festival, at Westport Country Playhouse, and it was named a finalist for the Princess Grace Award. Her play Split Wide Open has been produced at SPF in New York City and was developed with a fellowship from Ensemble Studio Theatre through its New Voices Program. The play was also named runner-up for the Princess Grace Award. Just Knots was named winner of the Samuel French Short Play Festival and is published in the Samuel French Publication Off-Off Broadway Festival Plays, 34th Series . It has been produced nationally and internationally. DNA has been produced at Prospect Theatre Company, Hangar Theatre, Samuel French Short Play Festival, and in the New York International Fringe Festival, where it received the award for Overall Excellence in Playwriting. Sacred Ground was produced at Stella Adler Studios, where Christina was the 2010-11 Harold Clurman Playwright-in-Residence. Her short play The God Particle was produced at both the Planet Connections Festival, the Estrogenius Festival, and at Stageworks/Hudson. She is a 2010-11 Fellow of the New York Foundation for the Arts and is an alumna of the Women’s Project Playwrights Lab. Website Christina Gorman About the Artist Christina Gorman Other Works By Read: The Grey Ladies About the Actor Seth Moore is an actor/writer living in New York City. Seth recieved a BFA in acting from the University of Michigan, where he also studied playwriting. He was recently seen in Far From the Trees by Christina Gorman (part of the Quick and Dirties fest by The |Claque|) and Greater Angels by Jason Williamson (Exit Pursued By a Bear.) Other stage credits include: Restoration Comedy by Amy Freed; These Seven Sicknesses by Sean Graney; and The Electric Lighthouse by Ed Hime (all at the Flea), Rat in the Skull (1st Irish theater festival) Film Credits include: Tzniut (Directed by David Formentin, Borderline Films) and Wet Behind The Ears (Directed by Sloan Copeland, Self Conscious Entertainment) Sethmoore.com Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . This work of filmmaker Tien Chi Fu explores the arc of a life while reflecting on the theme of "Harvest" from Daniel 12:8-13. Daniel 12:8-13 The Long Trip By Tien Chi Fu Credits: Actors, Omar White, Thomas E. Wynn; Cinematography, Brandon Dong; Crew: Danielle Pruden, Garrett Born Curated by: Jeffrey Leiser 2013 Film, Short Film Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Salvation is only the beginning. Part of the challenge in Christian walk is to understand God's will and walk where He desires. Growing up in a broken Christian family, I wanted to escape from the cruel reality to somewhere faraway where there's no family drama. I found the Lord when I was 20, and He has been good to me. He is my hiding place, my fortress, my rock, and my horn of salvation. He cast out all my fear and anxiety, and led me to a higher place. I hired three actors, Omar was 12, Thomas was 23, and an older gentleman (we met in the park) who was in his mid 50s. I wanted to illustrate the loneliness of childhood, the runaway adolescent stage, and the final resting in The Lord as an older man. The child becomes a man, and he is now able to look at his past in a forgiving way. We sometimes look at God's revelation through a remote and distant lens, but The Lord wants us to walk His way and rejoice until He comes again. What a savior we have, what a friend we have in Jesus, who not only cleansed our sin, but pour out himself to us, so we may receive the fullness of life! Spark Notes The Artist's Reflection Tien Chi Fu is a New York based writer/director/cinematographer. Tien was born in Taipei. His father is a playwright and greatly influenced Tien’s work. Tien grew up in a Christian family but not until age 20 did he receive Jesus Christ as his savior and get baptized. Tien attended Sun Yat-Sen University majoring in Theatre Arts; here he spent two years learning theatre techniques with a focus on acting and directing. In his sophomore year, he formed a Drama Club and produced a traditional Chinese crosstalk play with several friends. The many dominant drama theories he learned then became the foundation of his creative works. Following that, he moved to the United States because his true passion is in film. He took a gap year to work full time to save for tuition. He then got his associate degree in Radio/TV in Pennsylvania and got into New York University’s Film & TV department. His black & white film All Tomorrow’s Films is a story of Adam and Eve mingled with the transition between the analog and the digital era. He is now working on his thesis film “George Goforth and the Greatest Generation”. Website Tien Chi Fu About the Artist Into the Living Water Tien Chi Fu 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 . . . For a couple of summers, I worked as a private investigator, mostly just recording the comings and goings of people into an office building. Someone was suing someone else, and my job was to create a record that they either were or weren’t doing the things they said they were. What I offered was knowledge, information that could be used to make a point or draw a conclusion. But there were always limits to the information I could provide. Find the complete progression of the work linked below. Ecclesiastes 1:8-13 Artist in Residence 2016: Chris Knight Part 2 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 June 13, 2016 For a couple of summers, I worked as a private investigator, mostly just recording the comings and goings of people into an office building. Someone was suing someone else, and my job was to create a record that they either were or weren’t doing the things they said they were. What I offered was knowledge, information that could be used to make a point or draw a conclusion. But there were always limits to the information I could provide. In the film I’m developing, those limits are slipping away. If it were possible for a person’s memories to be recorded, accessed, searched, we could know what they knew. Everything they knew. That kind of knowledge wouldn’t only be sinister — it would be an unprecedented historical opportunity to see, hear and understand what everyone alive has seen, heard and understood. The people who did it could describe themselves as the keepers of the greatest library the world has even known. What might begin as a voluntary way to ensure you leave your mark might quickly become compulsory, to make sure no data is lost. I’ve written what I think are going to be the two central scenes for the film — well, one scene and one sequence. The film is about a woman who doesn’t want to remember, doesn’t want to be remembered as she was. On the other side are the technicians whose job it is to record her history. I’m still not sure how these scenes will fit together. To begin with, they both take too long to get where they’re going. But more importantly, while I think they stand well next to each other, they need to integrate in some way. I’d like to avoid a simple crosscut, since I think that would weaken the one long conversation. The conversation itself is having to do too much expository work, so another scene to establish the world and the rules might likely help. And right now things happen, but there’s no real trajectory to anything. So yeah, a plot would probably be a good next step. Read Chris Knight’s working script here . 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 1 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 first , 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

Loading Video . . . Playwright Chandler Crawford brings us a fascinating script, written through inspiration found in Proverbs 25:21-22. The excerpt (Proverbs 25: 21-22), in summation, speaks about the virtue of human kindness; even to your enemy. Proverbs 25:21-22 the road ends. By Chandler Crawford Credits: Curated by: Lauren Ferebee 2016 One-Act Play Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link As I was sifting through the seemingly endless Book of Proverbs, I stumbled upon a passage that really struck a chord. The excerpt (Proverbs 25: 21-22), in summation, speaks about the virtue of human kindness; even to your enemy. Solomon wrote these proverbs as a means to exemplify wisdom and raise questions of ethics, morality, right from wrong and even the meaning of human life. As an artist and a playwright, I am constantly asking myself what does it mean to be right or wrong, as well as always challenging the ideas of human existence. Why are we here? Where are we going? Where have we been? And most importantly, how do the people around us influence the paths we take? I attempt to ask all of these questions in the road ends., but not necessarily answer them. I believe, as a human race, we all take similar paths in life. I also believe our morality is one of the greatest powers in guiding us on our path. We all have friends, and we all have enemies, and how we treat the ones who mistreat us, speaks loudest to our own morality. Spark Notes The Artist's Reflection Chandler Crawford Born and raised in the South, Chandler has been making theatre happen since his early teens. A recent graduate of USC Upstate, Chandler has been working as a theatre artist in the sleepy town of Spartanburg, SC where he helps bring theatre diversity to his community through writing, acting and producing. He is a co-founder of AiR Bud Improv and a member of a playwriting collective, Playhaus, which aims to produce new works from young and emerging playwrights. Chandler also collaborates as a writer and producer with HUB-BUB, a non-profit arts outreach organization in Spartanburg. the road ends . is Chandler’s first published play, and he is thrilled to working with Spark and Echo. Website Chandler Crawford About the Artist Chandler Crawford Other Works By Related Information View More Art Make More Art A fork in a dirt road in the middle of an arid desert. An old man sits on the ground in the center of the fork. View Full Written Work Close Loading Video . . . A fork in a dirt road in the middle of an arid desert. An old man sits on the ground in the center of the fork. Download Full Written Work