Explainer
Care
Creed
6 min read

Bed rotting and an old art of rest

In a culture where “exhaustion is seen as a status symbol,” bed-rotting is an emerging trend. Lianne Howard-Dace reflects on self-care and how to rest and refresh.

Lianne Howard-Dace is a writer and trainer, with a background in church and community fundraising.

a sleeper pulls a blanket up over their head.

There’s a trend doing the rounds on TikTok which is attracting a fair amount of comment; the practice of taking (at least) a day in bed to recuperate when you’re running low on energy. Gen Z are - with characteristic directness - calling it ‘bed rotting’.  

At first, this sounds like nothing new. People have been taking to their bed for centuries. Gen X might’ve called it vegging out, millennials would call it a duvet day.  

From the discourse that’s sprung up about bed rotting though, it seems like some bigger questions are being explored around this trend. Firstly, Gen Z are reclaiming the need to stay in bed by branding it as a form of self-care. This picks up on some broader wellbeing trends online, where people are trying to decouple their sense of worth from their productivity. This train of thought picked up steam during the Covid-19 pandemic, and seems to continue to be something people are wrestling with. 

As others are pointing out... is getting to the point of needing a day to rot in bed is really a good approach to self-care?

I rather like the visceral nature of the phrase ‘bed rotting’ and I’m sure that, whichever generational cohort we fall into, we can all relate to the occasional need to totally switch off to refresh and recalibrate. However, as others are pointing out, a second consideration is whether getting to the point of needing a day, to rot in bed, is really a good approach to self-care. Or would more preventative measures be the better way to care for yourself? Some commentators on TikTok have suggested that a combination of other gentle activities would actually be better at delivering the desired results than lounging in bed alone. 

Dr Saundra Dalton Smith suggests in her book Sacred Rest that there are seven types of rest: physical, mental, spiritual, emotional, sensory, social and creative. Whilst bed rotting provides perhaps three or four of these types of rest, it may not provide the long-term refreshment sought if it doesn’t nurture the other parts of us as well. 

Should we all just be expected to mindfulness our way out of a mental health crisis or yoga our way out of chronic pain? 

While framing this extreme need for rest as self-care may give people permission to stop and reduce the stigma of doing nothing, it also puts the onus on the individual. I think the risk of self-care narratives in general is precisely in the focus they put on the self. While it can be healthy and empowering to take action to improve your wellbeing, it also draws attention away from the societal systems and structures that are contributing to everyone feeling so exhausted all the time. Should we all just be expected to mindfulness our way out of a mental health crisis or yoga our way out of chronic pain? Or should we be looking more widely at what is going on in the world? 

This tension between taking responsibility for my own wellbeing but also reflecting on how I relate to the wider concepts of work, productivity and success is a very live, everyday issue for me. I have fibromyalgia, a chronic health condition characterised by fatigue and widespread muscular pain. Whilst conventional medicine gives some relief, I have to manage my energy levels very closely and intentionally pace myself to avoid my symptoms flaring up, though sometimes it is out of my control.  

Unfortunately, if I were to let myself get to the point of desperately needing to bed rot it might take me a week or two to fully recover. I have to resist the urge to say yes to every invite and make sure I have a balance of work, rest and play in each week. This is helped by the privilege of being able to schedule my work around my own needs, it would certainly be much harder if I was tied to a very strict working pattern. In a way, it's like I have an early warning system for burnout, and I’ve become very attuned to fluctuations in my mood, energy or pain levels that might indicate the equilibrium is off. 

As part of my energy management strategies, I have also found that the ancient practice of sabbath from the Judeo-Christian tradition has helped me to both take regular time to rest and to remind myself that I am a human being, not a human doing. 

In Genesis, the opening poem of the Hebrew scriptures, we hear that after six days of hard work creating the universe, God rested on the seventh day. For thousands of years, Jews and Christians have attempted to learn from this and incorporate a day of rest into each week. The practice also exists in Islam.  

 

Each Sunday I try to do as little as possible and particularly to disconnect from digital channels, because I know they often take more energy than they give me. 

The way that this plays out in people’s lives ranges from very strict observance to more loosely held rules and rituals. However, you approach it, there is much to be learned from this ageless wisdom. I initially began practicing sabbath myself when I went freelance and realised how easily I could end up working seven days a week if I didn’t pay attention. This was six months or so before the first Covid-19 lockdown in the UK and I was extremely grateful to have established this habit in my life when that occurred. 

For me, sabbath isn’t just ensuring I’m squeezing rest into each week but also creating rhythm. It punctuates my week and gives everything else breathing space. Each Sunday I try to do as little as possible and particularly to disconnect from digital channels, because I know they often take more energy than they give me. 

In The Ruthless Elimination of Hurry, John Mark Comer helpfully suggests two simple criteria to decide whether something is permissible on the sabbath. Is it rest or worship? If it’s not one of those two things then it can wait. For me, worship usually means going to church, but for you that could be something else that helps you connect to something bigger than yourself and experience a sense of wonder. Perhaps immersing yourself in nature, or engaging with an awe-inspiring work of art.  

Another helpful piece of advice about sabbath I heard from Annie F. Downs on Instagram:

“If you work with your hands, sabbath with your mind. If you work with your mind, sabbath with your hands.”

As someone who spends most of my working week creating content on a computer, this is a useful reminder not just to read and journal on my sabbath but to swim, crochet or cook as well.  

Lastly, Jesus said “The sabbath was made for man, and not man for the sabbath”. This reminds me to do sabbath in a way that is life-giving for me, even if that looks different to what works for others. These guidelines have helped me establish a practice of sabbath which provides clarity and routine, whilst being expansive enough to allow me to give myself whichever type of rest I need at a given time. Occasionally I do just bed rot, but usually I do things that restore me and bring me joy, whether that’s taking a walk or cycle if I have the energy or simply taking my lunch to the beach. 

Of course, I’m not always perfect in the way I sabbath. That’s why it’s called a practice. But I do notice I flag later in the week if I’ve skip it. So, even if I occasionally switch the day or bend one of my rules for a practical reason, I keep coming back to it.  

If you don’t already, I really encourage you to try the routine of sabbath for yourself. Pick a day of the week that works for you, put some boundaries in place, try it for a few weeks and adjust accordingly. Treat it as an experiment, a gift to yourself and perhaps as a little way to opt out of the madness of modern life for a beat. And by all means, bed rot if you need to. As Brené Brown says:

“It takes courage to say yes to rest and play in a culture where exhaustion is seen as a status symbol.” 

Review
Art
Character
Creed
Easter
Suffering
5 min read

Why sculpt the face of Christ?

In Nic Fiddian Green’s work we feel pain, strength, fear and wisdom.

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

A man looks up a shaft of light that illuminates him and a crucifix higher up a wall.
I Accepted, 2025.
Richard Foster.

The seeds of faith were sown in the life of Nic Fiddian Green by his father. As he has explained recently, he “was shown a way and a faith, and an understanding around the faith of Christianity, in the way my father lived”. 

Later, his wife-to-be, Henrietta Hutley, asked him to help create Stations of the Cross for the Wintershall Estate in Surrey where, today, The Nativity and the Life of Christ are regularly performed. Henrietta’s father, Peter, wrote and brought The Passion of Jesus to Trafalgar Square, while her mother, Anne, had the vision for the Stations of the Cross project after a life-changing visit to Medjugorje. 

Fiddian Green says that “The Face of Christ has been with me for over 40 years” and that he has “searched for His face through my art as part of my spiritual journey, and also in the work of many others – especially Renaissance artists like Giotto, Piero della Francesca and Michelangelo”. 

Fiddian Green, who is internationally celebrated for his monumental equine sculptures, has created a deeply personal and spiritually resonant exhibition entitled The Face of Christ. The exhibition features 20 new sculptures including works in bronze, copper, lead, marble, plaster, and silver, together with a series of drawings. The exhibition ranges from the Nativity to the Resurrection but focuses primarily on the crucifixion.  

The exhibition is deeply personal for Fiddian Green because it is informed by the harrowing encounters he had with an array of life-threatening illnesses a few years ago. These caused an obvious and honest creative re-assessment and it is from these experiences that a stronger, deeper and more contemplative vision has emerged. One that permeates the new work via modes of stillness and reflection.  

The Face of Christ offers a profoundly meditative engagement with the image of Christ, capturing a sense of serenity, resilience, and transcendence in bronze and stone. In these works, he shows us how his spirit and his faith help him triumph over the physical as he explores the enduring power of faith, suffering and redemption. In the eyes of his work, we feel pain, strength, fear, wisdom and more as he asks questions of the viewer that leave a powerful and spiritual resonance. 

Fiddian Green says: “These works are a reflection of my journey of faith. I have come to find that His power to elevate us underpins everything I strive to do and The Face of Christ is an attempt for me to convey in my work all that He conveys in my heart. Christ gives me the key, but will I open the door…?” 

While the exhibition focuses on the crucifixion and the face of the crucified Christ, the expression on Christ’s face is generally one of peace, rather than pain. In part, this is because many of the heads of Christ included are images of Christ resting in death prior to the resurrection. The brokenness that the crucifixion brought is shown in these images through damage to the body of Christ, as opposed to the expressions on his face. This is most powerfully the case with ‘Broken for You’, a bronze crucifixion sculpture where Christ’s torso, as well as being scarred by a long spear-like fissure, has also been fractured with the two parts fused together using brace brackets. Similar fissures appear on other of the crucifixion sculptures but ‘Broken for You’ goes furthest in graphically showing the pain Christ endured on our behalf. 

It seems to me that Fiddian Green could go further in revealing the horrors that Christ endured and that his love of Renaissance art with its focus on beauty and balance might hold him back in this regard. Another artist to have regularly depicted the Crucifixion in images shown in mainstream galleries in recent years is Peter Howson, whose images of the crucifixion are much more expressionist graphically capturing the depth of pain that Christ endured. Fiddian Green’s drawings, more than his sculptures, tap into the sense of pain endured, particularly ‘This Storm will Pass’, a partial image of the face of the crucified Christ which in its frenetic pencil-marks and incomplete state speaks particularly powerfully. 

Fiddian Green, by contrast, primarily gives us a sense of the peace that he receives from Christ on the face of Christ. ‘I Forgive’, a bronze head of the crucified Christ depicts the love with which Christ looks on us as he endures the cross. ‘Christ is Laid to Rest’ is a huge head encircled by a crown of massive spikey thorns with green verdigris overtones suggesting the sweat and blood of anguish which has led to the completion of purpose that Christ finds in death. ‘Peace’, a plaster sculpture of Christ’s head, is also redolent of the supreme achievement of the cross; ‘It is finished’, meaning that all his work is complete and done, enabling him to rest and enabling us to enter rest.  

In these images, Fiddian Green is reading back into the events of the crucifixion the outcomes that it gains for us and showing, in his Christ figures, the peace that he personally finds in the love and forgiveness which overflows from the crucified Christ to each and every human being throughout time and history.  

Fiddian Green writes of having “been given materials to use by the God of heaven and earth” – those materials of the earth that he uses in his sculptures – and says that “it is my hope that some of these pieces may rest and resonate with those who see it; that they may find a deep connection by gazing on the works which takes the eye, the heart and the soul to the One who helped me create them”.  

While Lent, Holy Week and Easter are often times when art is offered to enable us to walk in the footsteps of Christ it is not common for commercial galleries to specifically invite meditation on these events, so don’t miss the opportunity for contemplation that the Sladmore Gallery is providing through this exhibition. 

 

The Face of Christ, 10th April – 2nd May 2025, Sladmore Gallery, London.