Essay
Creed
Trauma
8 min read

Pain’s scars and the difficult hope they demand

The tension of pain and hope is hard-wired into the human condition.
A close up of the face of a bruised and bloodied cyclist with a large bandage on his forehead.

When I felt a twinge in my lower back at the age of 30, little did I know that this would lead to chronic pain for over 20 years and counting. Defined as persistent or recurrent pain that is present for more than three months, chronic pain can lead those of us who battle it to struggle to carry out daily activities or to socialise freely. Research shows that up to 15 per cent of the UK’s population live with pain that is moderately or severely disabling. Whether discal, muscular, arthritic, or related to auto-immune or other conditions, medical researchers inform us that we are facing a silent epidemic of chronic pain in our society. 

In the past 20 years, pastoral work has opened my eyes to the fact that those of us who face the ignominy and anguish of chronic pain cannot claim a monopoly on suffering. No stranger to significant hardships himself, psychologist and Auschwitz-survivor Viktor Frankl suggests that all suffering should be taken with utmost seriousness, however brief or minor it proves to be. The “size” of suffering, after all, is relative. It is, he claims, like releasing gas into an empty chamber – it doesn’t matter how much gas is released, it will fill the chamber completely. In other words, it does not matter how great or small our sufferings are, they will always hold the potential to darken our hearts completely. 

Behind even the brightest smiles and the most cheerful demeanours are the scars of a thousand cuts.

Suffering and struggle have been particularly marked in our society in recent years, with the twin-tribulation of the pandemic and the cost-of-living crisis leading to so much grief, illness, depression, loneliness, poverty, and isolation. Some years back, I undertook hydrotherapy at the local hospital. With each patient having endured various injuries, many quite serious, I was struck by the plethora of scars in the pool each week – on backs, shoulders, arms, knees, and ankles. The many years of struggle and pain in that pool was all too visible, but, as I undertook my aquatic exercises, I recall thinking to myself: if we could peer into the souls of those around us, how many more deep-seated scars would we notice? Behind even the brightest smiles and the most cheerful demeanours are the scars of a thousand cuts. 

Neither should we fall into the trap of believing suffering merely impacts us as we age. While it is true that there is a correlation between age and bereavement, illness, and disability, the dark hand of suffering is not partisan to age or circumstance. Many children and young people go through all manner of serious trauma and illness, often hidden to those on the outside. Research is showing a sharp rise in chronic pain in young people, for example, while teachers bear testament to the impact of the pandemic on the mental health of so many of their pupils. Moreover, when I was a university chaplain, I saw how deeply young people were affected by incidences and events, even those that, to others, may have seemed trivial. Younger generations are certainly not immune to life’s struggles. 

Like that tenacious and resilient tree breaking through the harsh concrete, we witness hope and promise shining out of the pages of his letters. 

Christians, of course, have always been aware of the philosophical questions surrounding the existence of suffering. The book of Job in the Old Testament details one of the earliest attempts to consider theodicy, while numerous scholars down the ages have grappled with the “problem of pain” (C.S. Lewis) and the question of “where is God when it hurts?” (Philip Yancey). Their musings are well documented and discussed, but, as a Christian with chronic pain, I have become less interested in the “why?” of suffering and more concerned with the “what now?” In other words, I am increasingly interested in how faith responds when confronted with the crippling and dehumanising personal impact of pain, grief, illness, disability, relationship break-ups, depression, loneliness, poverty, or anxiety. 

During a particularly acute flare-up of back pain recently, I took short walks around our immediate locality. We live in a concrete jungle – there are houses, streetlights, cars parked down both sides of the road, and vehicles driving up and down, especially at school drop-off time. In my pain, I was struggling to see any hope in the incarceration of a city. Then I noticed something on our road that I’d walked past on many occasions. It was a small, solitary tree, which is about twice my height. For a brief moment it lifted my heart and I thought to myself how wonderful that someone had planted that tree, just to give some greenery to this urban sprawl. But then I noticed that this beautiful little tree had not been planted at all. Rather, it had broken through the hard, unforgiving concrete, desperate to reach up to the sunlight and take in the oxygen in the air. That small tree is, in many ways, an apt metaphor for the Christian response to personal suffering. 

From the book of Acts and his letters in the New Testament, it is clear that St Paul had walked the gruelling path of pain and struggle. He faced prejudice, persecution, and prison, not to mention his battle with a personal affliction, which he called a “thorn in my flesh”. Scholars posit this may have been an illness or a disability, such as blindness. Yet Paul does not allow his letters to become dark, depressing diatribes of fear and hopelessness. Like that tenacious and resilient tree breaking through the harsh concrete, we witness hope and promise shining out of the pages of his letters. Here was a man who knew suffering, but, through his vivid encounter of the person of Jesus, he had also grasped the profound meaning of hope. When we attend a funeral or a wedding, we will quite often hear uplifting passages of hope and joy written by him. Discussions around the tension in Paul’s epistles between “flesh” and “spirit” are well worn, but, when I read his letters, especially in light of the life and death of Jesus, it is the tension between “suffering” and “hope” that is most conspicuous. 

“I have seen the light – it flickers on and off like a badly-wired lamp”.

Andrew Motion

This tension, of course, is not just prevalent in the Christian scriptures. It is hard-wired into the human condition. Just take the years of the pandemic, when people were either isolated, lonely, stressed, and anxious themselves or were journeying alongside others facing illness, grief, worry, and fear. During that period, I was a parish priest and would regularly visit people, standing socially distanced on their doorsteps. Yet, despite suffering seemingly being omnipresent during the pandemic, people did not generally regale me with their miseries. Rather, they wanted to inform me of moments of uplifting hope that had broken through their difficulties – the beauty of nature on their daily walks, the tireless care of the NHS workers, and the joy of meeting with friends and family, on zoom or outside in the garden. They seemed naturally aware that hope and suffering are inextricably linked. This fact is at the heart of our Christian experience – its recognition is one of those things that define Christians as Christian. After all, the very symbol that has come to represent the Christian faith – the cross – is both an emblem of torture and suffering and a symbol of liberation and hope. 

Not that opening our eyes to moments of hope, love, and wonder is easy when we are going through difficult times. In the dark moments when my own chronic pain seems overwhelming and utterly debilitating, I am inspired by the words of the former poet laureate Andrew Motion: “I have seen the light – it flickers on and off like a badly-wired lamp”. There will be times when Christians will see God’s light clearly and its beauty and glory will dazzle daily. But there will also be times of doubt, grief, depression, anxiety, and physical pain. During those moments, we can learn to be sustained by the occasional spark of hope that will come to us, even in the very ordinariness and humdrum of our daily lives. 

And so, in travelling through life’s dark moments, Christians recognise two powerful realities. One of these has long been championed by preachers and spiritual teachers – it is the presence of a kingdom to come in a heavenly future where there will be no more tears and no more suffering. The other one, though, can speak powerfully into the present predicament – it is the presence of a kingdom all around us now, breaking through the harshness and bleakness of life, like that small tree bursting through hostile concrete. Theologians refer to these two realities as “inaugurated eschatology” and they can also help us to recognise profound moments when transcendent hope breaks into our lives. Opening our eyes to compassion, beauty, wonder, and awe can help us transcend our suffering, which so often seems all pervasive, and can lead us into a strange new world of God’s providence. 

In the soil that the broken concrete had revealed were little green, sprouting shoots. Hope had begotten hope. 

So, Christians hold onto the hope of the “not yet”, confident in the hope of life after death. But, as the old Christian Aid advert put it, we also believe in life before death. However dark and long our journey seems, hope is birthed when we take time and space to notice strange and uplifting moments of beauty, grace, and guidance breaking through our daily lives now. In these, Christians find, in the words of theologian Karl Barth, “indications, intimations and parables” of the coming reign of God. 

After 20 years of daily struggle, I have made peace with the fact that I am likely to battle chronic pain for the rest of my life. However, I have also come to recognise that hope is not all about smiles, sunshine, and flowers. Hope is often difficult and demanding. It is about delicately holding the joy and challenge of life in a wonderful balance. For the Christian, it’s about both recognising God’s kingdom in the beauty, awe, and wonder of his created world and glimpsing it in our very earthly, wearisome, and draining lives. 

But there was also something else about that small, resilient tree that was breaking through the hard and unforgiving concrete. On another walk, a few weeks later, I noticed foliage growing around the base of the tree. In the soil that the broken concrete had revealed were little green, sprouting shoots. Hope had begotten hope. And it is certainly true that the more we open our lives to recognising hope, however brief it may be in our struggles, the more it can inspire us to bring moments of light and comfort to others. And thus we live out, in the words of Karl Barth, so many “little hopes”, and, by doing so, we scatter seeds of new life and resurrection as we go, trusting that God will water them and bring his “hope, faith, and love” to fruition in the world around us. 

Interview
Art
Culture
Freedom of Belief
Trauma
9 min read

The women with tears of gold

Artist Hannah Thomas’ visceral and moving portraits offer a glimpse into suffering, and healing, souls.

Jane Cacouris is a writer and consultant working in international development on environment, poverty and livelihood issues.

A triptych of three portraits depicting of white shawled women agains a gold background
Hannah Thomas

“We may understand the statistics of violence against women, and the catastrophic effects such violence has on the fabric of society, but we don’t comprehend it until it is associated with a face, a voice, a story.”

Christopher Bailey, World Health Organization  

In March of this year on International Women’s Day, I was invited to attend the art exhibition and book launch of Tears of Gold by artist, Hannah Rose Thomas. Visceral and moving, the exhibition included both Hannah’s paintings and the self portraits of women survivors of ethnic and religious persecution, forced displacement and sexual violence; Yazidi women who escaped ISIS captivity in Iraq, Rohingya women who fled violence in Myanmar and Nigerian women who are survivors of Boko Haram and Fulani violence.  

As I walked around the exhibition looking at the faces of thirty-three girls and women ranging in age from twelve to fifty years old, I saw faces that radiated dignity and resilience but also pain and grief that is beyond words. Most are looking away, but a few look straight ahead, their eyes locking with the eyes of the onlooker.  

One was of Charity. As a woman myself, I felt an unexplained connection with this woman looking straight at me from the painting. She asked without words that I try to understand something of her suffering. Charity was held captive by Boko Haram in Northern Nigeria for three years and forced to “marry” one of her captors and convert from Christianity to Islam. She was raped and gave birth in captivity to a baby girl named Rahila. When Charity was eventually rescued from her ordeal and reunited with her husband in a camp for internally displaced people, her husband beat her and rejected her baby. Now on a daily basis, she faces abuse and isolation in the camp. Although she is no longer harmed by her perpetrators, she is still paying for their crimes.  

Another, Basse. The raw pain in her eyes strikes me. At the time Hannah painted her in 2017, it was three years since Basse’s daughter (age six) had been taken by Daesh (ISIS) after their Yazedi community was attacked and displaced in Sinjar in Iraq. She had since found her daughter’s photo on a “marketplace” website of girls for sale. As a mother myself I can only just begin to comprehend her anguish as one mother to another we gaze at each other through the painting.  

As works of art, the portraits are extraordinarily skillful and beautiful, but they are so much more than that. They offer a glimpse into the soul of women who have experienced the most unspeakable suffering. In the words of Prince Zeid Ra’ad Al Hussein, the former UN High Commissioner for Human Rights, they are Hannah’s “witness statement” for and on behalf of thirty-three brave women survivors, as well as shining a spotlight on the issue of gender-based violence that affects millions of women (a staggering one in three according to UN Women) across the world today.  

From refugee camps to Whitehall  

When I caught up with Hannah recently, she spoke about the privilege of meeting these women during the trauma-healing art workshops she organised with support of local partners and the sponsorship of charities (including BRAC, Open Doors, World Vision and Bellwether International).  

Starting out as an Arabic student in Jordan, she had her first opportunity to work with Syrian refugees for the UN Refugee Agency (UNHCR) in 2014. She began to paint the portraits of some of the refugees to show the real people behind the statistics of the global refugee crisis. This first gave her a glimpse of the healing potential of the arts and how it can be used as a tool for advocacy. Since Jordan, she’s been able to organise art projects with Yazidi women who escaped ISIS captivity in Iraqi Kurdistan in 2017; Rohingya refugees in Bangladeshi camps and Christian women survivors of sexual violence at the hands of Boko Haram and Fulani militants in Northern Nigeria, both in 2018, and most recently with women from the asylum-seeking community in Glasgow and Ukrainian refugees in Romania. 

Warm and immensely articulate, Hannah seems impossibly young, grounded and humble to have been on such a remarkable life journey already, from working with the women in the camps to exhibiting her paintings in numerous places of influence including the European Parliament, the British Houses of Parliament and Buckingham Palace, even meeting HRH King Charles and showing him her portraits of the Yazedi women.  

She describes King Charles, who went on to write the foreword for her book, as “genuinely interested in the stories of the women and really touched by them.” 

Easing the burden 

Creativity and an interest in the power of the story has always fascinated Hannah since she was a child. And as she writes in the introduction to Tears of Gold, all her work has a common thread of intention, “the restoration of these women’s voices”. She longs to give them a unique platform to tell their stories and refers to Holocaust survivor Primo Levi who describes the “unlistened-to story” as the enduring burden of the survivor.  

This desire to give a voice to the voiceless has dove-tailed in a surprising and powerful way with her love of creativity. She says,  

“Ever since I was young I have…had this desire to be a voice for the voiceless somehow but never imagined this could be through art. For many years there has been this tension between these two aspects of myself – this longing to express something of the beauty of God through my paintings and yet another aspect compelled to work in the sphere of social justice and human rights. God has woven together these two separate strands in the most beautiful and unexpected way.” 

Drawing on the writings of the French Philosopher Simone Weil, Hannah asks in her book:

“can the creative arts create a space to pay attention to the unspeakable suffering of another? Can this help restore her?” 

She tells me about the privilege of seeing the transformative impact on some of the women in her workshops as she taught them to put brush to paper to paint their self-portraits as a way of telling their stories. Many of the women painted themselves with tears. What is striking is that the stories behind the art reveal survivors not victims. One young Nigerian women Aisha, who had suffered rape at the hands of Fulani militants, painted gold tears she said symbolised God bestowing on her a crown of beauty instead of ashes; the oil of joy instead of mourning. Her story is about being precious in God’s eyes and his restorative healing in the face of unimaginable human-induced suffering.  

One girl who took part in the Nigerian art project, Florence, had been raped by Fulani militants when she was ten years old. On her last day at Hannah’s art project she said, “Here I have found peace of mind.” God using his healing hand through art. 

Connecting through vulnerability  

“I had been on my own journey through post-traumatic stress disorder and depression. Painting has been an important part of my recovery journey and how I learned to find my voice again. This was one of the key motivations behind these art projects as I wanted to be able to bring this gift to others.” 

The stigma that survivors of sexual violence face in their own communities when they return home is particularly painful. During the art project in Northern Nigeria, Hannah publicly shared about her own struggles, following a traumatic experience as a young woman, with survivors of rape by Boko Haram and Fulani militants. The women later reflected together that this vulnerability connected them as women and helped them realise that they were not to blame and need not be ashamed. It began to break the stigma and silence and to create a safe space of mutual trust so they could begin to share their experiences.  

Hannah writes, “Sharing our stories enables us to connect, and reminds us that we have more in common than divides us”.  

Most precious and in the image of God  

Coming face to face with the portraits painted by Hannah, as the daughter of a Portuguese Catholic father, I recognised the likeness of the style, colour and reverence to the icon painting of Jesus that my parents have on their wall at home.  

Drawing on Mother Theresa who talked about “seeking the face of God in everything, everyone, everywhere, all the time . . . especially in the distressing disguise of the poor,” Hannah’s portraits seek to revere each woman, to paint them with the love and devotion that God might. They remind us that they are all of exquisite value in God’s eyes.  

Hannah’s expression lifts as she explains the methods of iconography that she studied and practiced in order to paint the women’s portraits and the palette she used. Gold leaf as a symbol of their sacredness to God regardless of what they have suffered, and lapis lazuli, the most expensive and illustrious blue pigment sourced from the mountains of Afghanistan and used by artists such as Michelangelo in the Renaissance period, unparalleled for its depth and richness and purity.  

Each painting takes a long time to complete, around nine days, due to a layering process required to build up the colour in the natural pigments that are used, Hannah says:

“I'm interested in the quality of attention. And the contemplative prayerful aspect of the paintings. For me they're a form of prayer. Praying for each of the women I've met.”

She explains that the process of Byzantine painting is like a prayer. Starting with the under painting with all the dark colours, the background tone, and then slowly progressing on a journey, adding in highlights, from darkness to light. It’s “symbolic of the journey of the soul” she says.  

And how are they received in the political corridors of power? Hannah pauses.  

“The fact that it takes so much time. It’s different from a photograph. It invites people to contemplate in a way that's quite unique. In a place with such high pressure where there isn't much time to pause. It’s about creating space for contemplation. Where mentalities can shift. When you slow down and attend to the story.”  

Impossible to measure the impact of such a shift, but when Hannah tells me about the number of politicians moved to tears by both the paintings and the women’s stories, it is clear the impact is there, measurable or not.

The art of attention 

Tears of Gold opens with Hannah’s reflection on the art of attention. The word “attention” comes from the Latin ad tendere, meaning to reach towards. She writes:

“Only by reaching out in love and understanding can we overcome the agendas of violence and polarisation that seek to divide us.” 

According to Rabbi Jonathan Sachs, this “reaching out” requires a commitment “to see in the human other a trace of the divine Other... to see the divine presence in the face of the stranger.” 

When we reach out and allow ourselves to connect with the suffering of another whose pain is unimaginable – in Hannah’s words, to reach across the abyss of difference between us - we take a step towards understanding that suffering. Art can be a way of bridging that abyss, of opening a passage between us and the other. By taking a step towards the other and understanding just a fraction of their pain, we can be stirred.  

Does the arts have the ability to stir us beyond the self-centred voyeurism that an overload of media imagery may have reduced human suffering to? By the way Hannah’s portraits have been received in the corridors of power in the Global North, we can only hope that the answer is yes.  

Perhaps the arts are the answer to stirring humanity’s compassion to move beyond complacency.  

And to demand a different way.  

 

Tears of Gold by Hannah Rose Thomas can be purchased from Plough. All publisher profits from this book will be donated to relevant charities.