Review
Change
Freedom of Belief
4 min read

Face to face with the danger of faith

In the face of compassion fatigue, connecting with the humanity of a cause requires the artistic, not just the imperative. Belle Tindall reviews Clay and Canvas.
A refugee looks out from a cover photograph of a book resting upright against a cylinder
The cover of Clay & Canvas.
Open Doors.

In 2018, in the Houses of Parliament, Hannah Rose Thomas displayed a collection of radiant portraits she had painted of Yazidi women who had escaped ISIS captivity. She did this to bring their ongoing plight to the attention of the Government. In 2019, at the London Riverside Development, three photographers (Chris de Bode, Abbie Trayler-Smith and Nora Lorek) used their photographs to powerfully tell the story of the hunger crisis in Sudan, Liberia, and the Central African Republic. In 2021, a 3.5-metre-tall interactive puppet of a 10-year-old Syrian girl named Amal was walked from Turkey to Kent, and in so doing, gave the world a glimpse of what such a journey entails for thousands of refugee children. And in 2022, the advocacy group, Open Doors, published a striking book entitled Clay and Canvas, which compellingly tells seven stories of individuals who have faced un-imaginable trauma because of their belief in Jesus.  

While these projects were created by different people, at different times, highlighting different situations, it seems to me that the powerful impact of all four artistic offerings is twofold. Firstly, they each force us to move beyond numbers and statistics, inviting us to come face-to-face with the humanity behind the headlines. And secondly, the utter beauty with which these pieces have been both created and curated hints at the startling beauty that can be found in the midst of pain. The glimmers of light that are ever present, even in the darkest of contexts.  

This is most certainly the case with Clay and Canvas.  

Its strikingly minimal aesthetic ensures that it can comfortably sit alongside the most classic of ‘coffee table books,’ but instead of being filled with recipes, interior decoration inspiration, or the complete lyrical works of Paul McCartney, this holds within it stories that will simultaneously break and inspire its reader’s heart.  

There are around 360 million people in the world who are currently under some sort of threat because of the Christian beliefs that they hold, and this book tells just seven of those harrowing stories.  

It introduces us to Baheer and Medet, two friends who played together as children, but now find themselves in a torture chamber. One of them is being electrocuted because of his Christian beliefs, while the other is looking on at the torture of the friend that he himself had reported to the authorities. Both are utterly terrified.  

We also meet Rebekah, Eti and Ratina as they are thrown into the back of a police van, sentenced to five years in a high-security prison for telling children about their belief in a man called Jesus.  

And then there’s Kirti, who is being continually hounded by a violent mob, her body repeatedly broken and battered by their sheer anger at her refusal to deny her faith.  

These stories are an afront to the comforting habit one may have of disassociating individual realities from vast statistics.

These stories don’t give their readers the blissful luxury of ignorance. They are an afront to the comforting habit one may have of disassociating individual realities from vast statistics, of regarding this epidemic of violence as some sort of faceless or nameless phenomena.  

Rather, readers are brought face-to-face with the detail of religious persecution. We are shown the thought-processes of a man on the brink of death, we are walked through the moment-by-moment decisions of a person attempting to flee for their life, we are exposed to the agony of three women being separated from their children.  

The writing is heart-wrenchingly powerful, the stories its telling, infinitely more so. This is certainly not your average ‘coffee-table book.’ 

As well as the written stories, there are photographs of these persecuted individuals dotted through-out the book. Readers are not only told their stories, they are also shown their faces. These pictures serve to remind us that this discrimination isn’t happening to people who resemble cinematic-style heroes, it is happening to husbands, wives, daughters, sons, neighbours, friends, mothers, fathers. 

2023 is the most dangerous year to be a Christian on record, it is integral to the increasing number of people who are losing their right to hold their beliefs that this reality is continually, and indeed creatively, amplified. 

And yet, as noted earlier, the darkness of these stories is not devoid of glimmers of light. There is a distinct thread of redemption that is weaved through this resource, and indeed, these people’s lives. The beauty is found in the forgiveness shown by those who have been betrayed, the hope found by those who have nothing else to hold onto, the ‘gentle, defiant glow’ of those who are stubborn in their selflessness – all of it all the more staggering for being completely true.  

This book presents its readers with a costly kind of goodness. A truly counter-cultural form of beauty. If you sit with it long enough, it will begin to chip away at the modern and ever-so-Western tendency we have to consider pain and beauty as forces that are mutually exclusive.  

Art, in its various forms, is one of the most powerful tools we humans have, and that is never more evident than when it is used to communicate circumstances with a depth that statistics alone could never reach. Clay and Canvas is certainly one such example.  

 

Clay and Canvas has been produced by Open Doors in Partnership with Something More Creative  

Article
Change
Identity
Joy
5 min read

Embrace those grey areas: they might burst into colour

Resist notions of black-and-white existence.

Lauren writes on faith, community, and anything else that compels her to open the Notes app. 

A pile of folded knitted jumpers sit on a grey back ground, one is also grey, the others are red and brown.
Anna Evans on Unsplash.

All too often, the world demands us to be one thing, or to be another. In our responses, our ideologies, our beliefs, we are expected to be this, or to be that. In or out. Yes or no. Red or blue. Black or white. The world likes when we label ourselves with a certainty that makes us easier to market to, to capture in a strategic plan, or to reach in an algorithm. 

On a social level, these self-categorising definitions – what I believe, who I vote for, what I consume – can become a filtering system for who gets access to us, and who does not. In a combination of association and assumption, we decide who ‘our people’ are, and who they are not. And it seems straightforward. 

That is until you realise two things: most of life occurs not in the confines of black or white certainty, but in the grey, in-between area. And none of us are straightforward. 

After living through what was dubbed ‘the largest election year in history’ in a multi-national community, I can appreciate that a person is unlikely to experience uncomplicated commiseration or celebration. In the days following several of these major elections, I witnessed friends express disappointment, relief, uncertainty and acceptance in an exceptionally short span. 

We may like to believe that we are clear-cut individuals who hold easily defined, nicely organised ideas and beliefs, but the reality is far messier. Our attitudes, views and feelings are lightly tethered to a spectrum and, almost always, we find ourselves somewhere in the middle. 

Think about it. Can you remember the last time you felt sustained unadulterated happiness, without concern for something or someone lingering at the back of your mind? The reverse is true, too. I’ve known people in the trenches of grief to laugh out loud at their favourite Instagram reels. Typically, it doesn’t take much to drag us away from the highs and the lows of life. We are geared to live in the in-between spaces. 

Make space for all that occurs within the confines of what the world expects and accepts. To embrace the mess of the in-between. 

This pull we feel to the middle is not surprising. One of the early church leaders, Paul, said that ‘if anyone is in Christ, the new creation has come.’ We are new creation beings, surrounded by new creation ideas, in an old creation world. Our social constructs, systems and very lives are built on the premise of being somewhere in between the old and the new, a grey area of partly present and partly future. 

Paula Gooder, the New Testament theologian, says of Paul’s writing: ‘With Jesus’s death and resurrection, the new creation lies with the old creation. From time to time, you will see moments of perfection, moments of resurrection, and those are the moments that keep us going in the difficult time … Although you’ve got new creation lying on top, you’ve still got old creation lying underneath. If you want to ask the question of why the world is as awful as it is, it’s because we’re living in old creation.’ 

In embracing the Kingdom of God in being both now and not yet, we are engaging in an act of resistance against notions of black-and-white existence by living in a grey area that is fit to burst into bright, celestial colour. 

On the surface, the story that shapes our origins of existence, the creation narrative of Genesis suggests a God who works in binaries – night and day, land and sea. But we know that there is also the less easily defined twilight, dusk and dawn, marsh and mist. Creation itself indicates that living solely in duality is an impossible feat. After all, we weren’t made for separation, but for unity and reconciliation. All around us, the natural world witnesses to a God who created the things in-between and, like the setting and rising of the sun, he made them to be spectacular and captivating. 

In his criticism of Richard Dawkins and the new atheist movement, Terry Eagleton echoes the excitement that dwells in the in-between, writing that Dawkins ‘would seem to divide neatly down the middle between things you can prove beyond all doubt, and blind faith. He fails to see that all the most interesting stuff goes on in neither of these places.’ 

While certainty has its moment and its merits, I don’t think living in a grey area is a bad thing. In fact, I think we’d all be better off if we could get used to it. If, in compassion, we could assume that our neighbour, too, is occupying space in the grey area, floating somewhere between joy and sorrow, clarity and confusion, relief and pain. If, in humility, we could accept that we don’t always have the answers and grow comfortable with saying ‘I don’t know.’ If, in fairness to ourselves and to others, we could allow for the myriad of feelings between delight and distraught. 

In a world that not only expects polarisation but increasingly feeds it for profit of votes or views, this is a counter-cultural way of living. It is radical to acknowledge that our feelings, opinions and even our beliefs can rarely be defined as immovable. We are evolving beings and, as such, the stuff we hold in our minds and hearts today will morph and grow and potentially come to change tomorrow. 

Our lives are more than a sum of wins and losses, comedy and tragedy, old and new, black and white. So, as we stand at the beginning of this year, I implore you to make space for all that occurs within the confines of what the world expects and accepts. To embrace the mess of the in-between. To press on in the grey areas of life, only to discover it full, vibrant and glorious in new creation colour. 

 

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