Article
Belief
Creed
4 min read

Are miracles real?

In miracles, as in much of life, you see what you're looking for.

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

A woman sees her reflection in a mirror and hold a finger up.
Ivan Lapyrin on Unsplash.

Recently, I heard a remarkable story about a friend of mine who happens to be a vicar. He had been diagnosed with a serious cancer, and the diagnosis was bleak. He was preparing himself for a difficult few months, readying himself, and his parish, for the end before too long. His body was reacting poorly to chemotherapy, and the prospects did not look good. However, he continued to try to get a balance of rest and work through the tiredness, praying when he could - little and often - but without too much discomfort.  

A short while ago, during a routine visit to the hospital to receive the results of a scan on how the cancer was progressing, something puzzling happened. 

The surgeon showed him the scan related to the original diagnosis. He asked, "Can you see the tumour?" My friend replied, "Yes, of course, it's right there," pointing to the black mass. The surgeon then showed him another scan. 

He asked again, "This is the most recent scan we’ve just taken; can you see it on this one?" My friend peered closely into the scan and said, "Hmm. I'm not sure I can." The surgeon then responded, puzzled, that somehow, between the two scans, the tumour seemed to have disappeared. 

He added: “To be honest, in my world, we don't really have an explanation for things like this. But I suspect in yours, you do.” 

Besides being delighted for my friend, since hearing the story, I've pondered what it means. Of course, miracles are by their nature rare and we cannot automatically predict them, My friend was in the kind of church that doesn't routinely demand God for miracles but simply carried on gently praying that somehow God would be with the vicar in his struggles, hardly daring to hope that the cancer would in fact vanish.  

Was it a miracle? Or was there some other explanation? It seems to me that the answer you give to that question depends on the framework you bring to it. If you are a believer in a God who might do this kind of thing from time to time, and consider that such things can and do happen occasionally, not regulated by the usual course of cause and effect, but by some extra dimension of reality unseen to us and immeasurable by the methods of science, you will probably simply accept it as one of those occasional interruptions to the normal course of things. And then give thanks to God and rejoice with my friend at this sign of God’s goodness.  

Of course, it raises the question of why this cancer was healed and others aren’t, but that takes us into other territory, which I’ve examined before in relation to Donald Trump’s narrow escape. Would we rather a world in which such things as this never happened, and my friend’s cancer had taken its usual deadly course? Or a world where just every now and again, something delightful and unanticipated happens, like stumbling on a gloriously unexpected view of rolling hills and a dramatic sunset at the end of a routine walk on a summer’s evening?  

Belief in miracles doesn’t mean an irrational rejection of science and its benefits in favour of an entirely random world. it simply means an acknowledgement of the limits of our reasoning. 

An honest doctor like the one treating my friend, might recognise that the methods of medical science, for all its brilliance, value and wisdom, on which we all depend so much, has to shrug its shoulders at this point, realising that it doesn’t have the categories to explain it, reverting to a kind of agnosticism. A more thoroughgoing materialist would say: “Of course we know there are no such things as miracles, so that’s the one thing we know it is not. There must be some other explanation, and science will one day discover why such mysterious things happen.” 

What we believe about such things is determined not by the self-evident ‘facts’, the bald evidence of what is before us, but by our pre-conceived mental map of the world, our framework of faith, what we think the world is, and what, or who we think God is, (if he exists at all). We are all believers in the end – the difference is what we believe in.  

Belief in miracles doesn’t mean an irrational rejection of science and its benefits in favour of an entirely random world. it simply means an acknowledgement of the limits of our reasoning, open to the possibility of an extra dimension of enchantment that occasionally shows its face, and that there is a bigger world out there than we with our small minds and spirits are able to comprehend.  

GK Chesterton once put it like this. "Somehow or other an extraordinary idea has risen that the disbelievers in miracles consider them coldly and fairly, while believers in miracles except them only in connection with some dogma. The fact is quite the other way. The believers in miracles accept them, rightly or wrongly, because they have evidence for them. The disbelievers in miracles deny them, rightly or wrongly, because they have a doctrine against them." 

In miracles, as in much of life, you see what you're looking for. 

 

Review
Art
Culture
5 min read

Genesis Tramaine: the painter whose faces catch the spirit

New York's expressionist devotional artist

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

AN experessionist painting shows a face with a large open smile and many eyes.
Oh! Ye’ Faithful, 2024
Almine Rech.

Genesis Tramaine begins her presentation as part of the McDonald Agape Lecture in Theology and the Visual Arts 2025 by singing ‘Amen’, a gospel song popularised by The Impressions in the 1960s. Her presentation about her art is essentially an act of testimony, such as might be given in a Southern Baptist Church in the USA. 

Tramaine is an expressionist devotional painter from the US who is deeply inspired by biblical texts and whose work is held in permanent collections, including the National Gallery of Art in Washington DC. The large expressionist heads she paints are not representational portraits but expressions of spiritual energies and forces within the person, often inspired by and showing biblical figures and saints, as well as church people, family and friends. 

She speaks about having met the Gospel before meeting God, as she attended a strict Southern Baptist Church while growing up. She drew from the back of the church and also wrote thoughts and impressions in notebooks. She says that she loved church but that it fell out of place in her life as she grew up. 

One day, far from home and needing help, she called her Nana on the phone, who said to seek first the kingdom of God. She found quiet in herself and prayed more, finding herself in conversation with herself. On one occasion, disturbed, she couldn't sleep and was experiencing physical manifestations. At this time, she says, she saw all of herself and surrendered to God. In the morning, she read Matthew’s Gospel - seek ye first the kingdom of God. 

The words in the Bible started to make sense to her as a story reading itself to her and she began drawing faces. Her Bible had white images of Christ and Mary, so the words didn't match the images, and this was a spur to paint the women and children of the Bible revealing the beauty of black women in particular. She read the Bible in the King James Version, stopped trying to fit in and found the strength to play with and disrupt narratives. The tools and materials to do this were all one’s that she found in the Bible. 

Eyes are our organ of vision, so faces sporting dozens of eyes are those which, like the saints, achieve the greatest insight into the true depths of reality. 

Her current exhibition at the Consortium Museum, Dijon, France, is entitled Facing Giants’ and addresses these issues head-on. She has said of the exhibition: ‘I think it’s important that you paint a real narrative, an honest reflection. I don’t think [my saints] look like saints as they have been given to us...[those] were false narratives. The images of saints that we know and that are projected at us are all white with blond hair—and we all know that that is not true.’  

She has explained that: ‘These are biblical saints who have faced giants whether those giants are actual giants or giants like fear, love, acceptance or non-acceptance, the giants of facing God and not being accepted, giants of judgments… those who have sat in the mud, if you would, and found a way to persevere. And I wanted to spend as much time as I could with those energies and those narratives, as a tool of self-encouragement and as a tool of encouragement for others.’ She feels these energies literally, speaking of entering the room where she paints with a sense of a whole other people - silent saints – being present with her when she is at the canvas.  

While Tramaine emphasises the inspiration of the Holy Spirit in her work, critics have noted her stylistic closeness to graffiti art and she herself has explained that she was familiar with graffiti in her childhood in Brooklyn. Eric Troncy, Director of the Consortium Museum, relates her work stylistically to the expressionism of George Condo, Jean-Michel Basquiat, and Willem de Kooning. Tramaine, though, speaks of other influences including Sister Gertrude Morgan, Romare Bearden, and David Hammond. In the McDonald Agape Lecture, she spoke of Hilma af Klimt and Jack Whitten as inspirations, as well as gaining inspiration from the significance of the Iyoba Idia of Benin in Nigerian culture. 

One of the distinctive features of Tramaine’s portraits is the plethora of eyes that often feature. Eyes are our organ of vision, so faces sporting dozens of eyes are those which, like the saints, achieve the greatest insight into the true depths of reality. Some more recent images have also featured a plethora of open mouths and teeth. Troncy writes that: ‘Her figures, it seems, have started to smile. To shout, perhaps; to sing—why not?; and to talk—most definitely.’ 

This is interesting, in part because, when I asked her in an earlier interview about her influences, she began by speaking about her love of gospel music, including that of Jonathan McReynolds and Le’Andria Johnson. She says this Jesus focused music ‘encourages me to praise from the depth of my soul; to paint, let go and trust from that space’. While she’s ‘not quite sure what happens’ then, ‘Black folk say I catch the spirit’. She speaks of losing time as you paint, saying that you can't be present when painting as you have to trust yourself to the process, surrender, and play in the space. 

This is, in part, why she began her McDonald Agape Lecture presentation by singing. 

Her testimony is essentially simple, direct and profound: ‘I've wanted to be an artist since I was a child. I took my prayers seriously, which means I began to develop a relationship with Jesus Christ, my Lord and Savior … I asked God if I could paint and pray, help and give, as an offering of service for the rest of my life. And the paintings began to mature. I committed to the relationship that painting offers spiritually, in Jesus’ name.’ 

Support Seen & Unseen

Since Spring 2023, our readers have enjoyed over 1,500 articles. All for free. 
This is made possible through the generosity of our amazing community of supporters.

If you enjoy Seen & Unseen, would you consider making a gift towards our work?
 
Do so by joining Behind The Seen. Alongside other benefits, you’ll receive an extra fortnightly email from me sharing my reading and reflections on the ideas that are shaping our times.

Graham Tomlin
Editor-in-Chief