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  

Snippet
Change
Gaza
Israel
Trust
2 min read

The little red cross trusted by everyone

Hostages and prisoners alike accept the symbol of trust and hope.
At a night time hostage exchange, a hostage wears a pink top and is guide toward the side of a white vehicle bearing a small red cross.
Hostage release, Gaza.
IDF.

The moments when the Israeli hostages are exchanged for the Palestinian prisoners bring many strong feelings. Powerful pictures capture the moment when people on both sides of the brutal conflict regain their freedom. Such images show the hostages embraced by their families and relatives, while the Palestinian men and women are applauded as heroes by their communities. Camera recordings are shaky, we hear the noise of voices, jubilant ones, and see tears on the faces of relatives. The dominant colour among crowds in Tel Aviv is white and blue (the star of David), with yellow ribbons symbols of hope. On the other side: the black military uniforms with green headbands among the members of the Hamas.  

Watching these unfolding events one detail can be easily missed: the little red cross. It is there on the Israeli and Palestinian soil, it is on the white vehicles and on the uniforms of volunteers who mediate exchange of hostages and prisoners. This symbol, shown to us, although originating in the Swiss flag, is still accepted by both sides of the conflict as the sign of trust. Of course, the sign of the cross is well known to the Jews and Palestinians and, sadly, has not been only the symbol of glorious, charitable events in the history of that land.  

Spotting the small red cross reminds me of the film Schindler's List and the little girl in a red coat… Not everyone can see that girl in red in the overwhelming chaos of events. The viewers can be easily distracted or close their eyes to avoid the brutality of the scene on the movie. What we watch on the day the exchanges commenced is not a movie, it is broadcasting live, and the red cross is there. What is its significance and what does it mean? 

At least for me it is a powerful reminder that this small red cross is accepted by everyone – even those who are not Christian - as the sign of their trust and hope in safety, in humanity, in value of promise. In our world of secularism, growing populism, AI, in the world of hate, cruel killings and brutal treatment, on the streets of Gaza where life is annihilated, and outside of cold, grey prisons in Israel, the small red cross appears and embraces both groups. Is not there to judge, does not expect any recognition of its mission, still, remains humble, silent, but a visible reminder of a compassion that is greater than hate. It is accepted by both sides as the bridge on which they wish to walk to their future. Who knows, maybe it will become the door behind which many people from both communities will leave the horrors of this broken world.   

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