Some weeks ago this sculpture of Christ was removed from St. John’s Church (West Sussex). Made from coal and resin and installed in the 60’s, it should now be hanging from a large wall in a local museum. The sculpture was not only unsettling for the children of the church: it was also “off-putting to people outside of the church!" The church wanted an image that will communicate the “hope and joy” of the Christian faith.
The removal of the sculpture, as a result of the apparent terror it caused to children and the negative imaging to the public ,got me thinking about some of the theological implications as to the inherited ways we image the Christian faith. I was intrigued enough to want to know the following: what actually informed and motivated sculptor? Where did he draw his imagery from? What sort of theology informed his construction of such a representation? It is a fact that most of the “founding theological fathers” (and they were mostly men) of modern day Protestantism have bestowed their ecclesial traditions with a diet of fear and terror of the Divine that such ingraining becomes tough going for those wishing to go against the grain.
I further wonder if this act of dissent and its wider implications have been carefully reflected upon by the vicar and his congregants. Did this exercise cause the whole church to look again at its liturgies, hymns, and theology from the perspective of the theology of the cross and the crucifixion motif and cross theories that play into such imaging as the above? Or is that with the removal of the sculpture and the newly commissioned paintings of joy and hope, everything will revert back to business as usual? For what needs to be reflected upon is the less acknowledged source of the flaws and the conceptual problems which the sculpture both poses and represents.
Imaging Jesus is always going to be tricky business, if our theological perspectives are not interrogated, deconstructed and reconstructed and if we operate on the premise that Jesus was a white European. I wonder if an African Jesus, Middle Eastern Jesus or Che looking Jesus (as the series “The Christ we Share“attempted to do) will scare these children as well. These images certainly got some of the adults upset and in the process encouraged healthy and necessary discussions.
Perhaps, the act of handing the sculpture over to the museum is a more profoundly symbolic act that we may wish to imagine and want to reckon with. It may be too close to the truth in the way it reminds us of what becomes of faiths and religious practices that lack self-criticality and self-interrogation. At best they become museum pieces of outdated images and dogmas of a bygone era and at worst that which we would prefer not to remember. This is not about denying the nastiness of human crucifixions!
It is not too late to ask where and how in all our imaging and representing of Jesus we have in many instances misrepresented Jesus. This, I suppose, will be a tough, but necessary exercise. Herein, lies the coordinates for an immensely important theological debate.
© copyright Jagessar January30, 2009