Article
Creed
Easter
Resurrection
4 min read

Easter is almost too big for our human minds to grapple with

How can we 'go figure' the seemingly incomprehensible?

George is a visiting fellow at the London School of Economics and an Anglican priest.

A star constellation resembles a cross.
Adrian Mag on Unsplash.

Forgive me for getting a bit ahead of myself, but I’d like to say something of the Resurrection. We’ve barely even started the Triduum and the Jesuit saying rings in my ears: “If we don’t die with him on Good Friday, we can’t rise with him on Easter morning.” 

But part of the problem this epigram presents is that it’s not so much Good Friday that we skip over, but Easter morning. In our determination to focus on the Passion of the Christ, Easter can perhaps be a joyful sermon, a jolly good lunch, an exclamation that “He is risen!” and we move on. 

So when it comes to miracles, too often it’s the Big One from which we avert our attention. And we can even skip the entire thing. I encountered two of my erstwhile Church primary-school children on a Holy Week dog walk. “Father George!” they cried. I’m afraid I spoke to them and their parents about clues for an Easter-egg hunt. 

Like the size of the universe, Easter is almost too big for our human minds to grapple with. So we confine ourselves to reciting facts and beliefs. Our universe is 13 billion light years wide and came from literally nothing. Jesus Christ was raised from the dead and appeared to his disciples. 

There is a real fear of the Resurrection among the faithful. Not in the way that scripture speaks of the fear of God, but a much more basic fear of the schoolchild that we’re not getting it right. It’s as if we’re meant to believe but can’t, with a dash of the awful dread that those who say that - rather like Donald Trump - it’s not to be taken literally but seriously might just be right. 

It’s the fear of the yawning abyss between literal truth (in Greek, logos) and metaphorical or allegorical truth (mythos). And it’s as if we’re being forced to make a choice that, in conscience, we can’t. As such, it becomes what St Paul might call a stumbling block, something that gets in the way rather than illuminates. And it’s one we quietly ignore. 

I think I want to say that we need to be liberated from the worry that there’s a right way to interpret it, or that there’s a binary choice to be made between literal and metaphorical truth. In the events of Easter morning, we’re being offered a both/and response rather than an either/or choice. 

In this model, historicity is useful but insufficient. We know as a historical fact that Jesus of Nazareth was crucified by the Roman authorities and we can very reasonably assume, in historical terms, that one of his disciples, a woman from Magdala called Mary, went to his tomb after the Jewish sabbath and found it empty. 

Thereafter the experience of the Resurrection becomes harder, if not impossible, to describe. Not just for us, but especially for the first witnesses to it. That’s partly why this gospel scripture is written in a way that is unlike any other, more breathless, more personal, more anecdotal and more experiential. It’s as if the insurgent Jesus movement is seeing in colour for the first time. 

If we’re looking for a miracle, incidentally, here it is. Whatever has happened, the utter defeat and dispersal of this small, provincial band of rebels in death and despair has been irreversibly transformed within three days. The two-word modern term for this phenomenon might be: Go figure. 

But we should not avert our eyes from less convenient phenomena, evidence that is not just metaphorical or allegorical but which may be downright worldly and motivated by expedience. It isn’t controversial to observe that there is a difference between the empty-tomb narratives and the apparitions (as the Roman Catholic catechism calls them) of the risen Christ, the latter in part arising from competing factions for patriarchal authority the earliest formation of Church. 

The empty tomb isn’t just evidence of the risen Christ. It’s there to show us symbolically where God is not. In John’s gospel, Mary sees cherubim sitting at the head and foot of the slab on which the body lay, echoing the mercy-seat of the ancient ark of the covenant, the empty throne of the invisible Jewish God, Yahweh. The Christ has “gone ahead” to continue the living work of God in his nascent Church of the new covenant. 

Above all (and those two words can be read literally), this dualistic approach to the Resurrection calls its observers to relax about it, to let go of our understanding of it. The words and actions of the risen Christ often seem to confirm as much: "Don't hang on to me", "Shalom" (Peace be with you), "Come and eat", "Feed my lambs". 

So, struggling to comprehend the Resurrection isn’t a deal-breaker. In a way, the divine message is that the biggest miracle of all is no big deal. Life really does go on. 

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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.