Explainer
Creed
Psychology
5 min read

Should you be ashamed of yourself?

Shame powers cancel culture, yet its historic role is guarding community boundaries. Henna Cundill takes an in depth look at shame - and empathy.
The word 'SHAME' spray painted onto a grey hoarding in lime green paint.
Anthony Easton/flickr: PinkMoose, CC BY 2.0, via Wikimedia Commons.

“Put on this dunce’s cap and go and stand in the corner!” cries the teacher, and immediately we are transported to a scene that takes place in a schoolroom of centuries past. Likewise, if nowadays we were to see a woman being led down the street wearing a scold’s bridle, we might assume that there was a very odd sort of party going on; we might even intervene or phone the police. Why? Because these are not the scenes of 21st century Britain. We don’t do public shaming anymore – at least, we like to think we don’t.  

But the truth is we very much do; in fact, shame is essential, at least to a certain degree. For a group to survive with any sense of collective identity and purpose, something has to prevent each person within that group from becoming too greedy, or too lazy, or too dishonest. That something is often the fear of being shamed, not even punished – just shamed. It doesn’t feel nice to be judged and found wanting, or to fear that you might be. 

Think back to the last windy day when your recycling bin blew over – did you experience a passing moment of concern about the public pavement acrobatics of your wine-bottles, cake boxes and ready-meal trays? No need to blush – your neighbours probably rushed out ahead of you to hide their own multifarious sins. Studies have long shown that installing self-checkouts at supermarkets dramatically increases the purchase rates of “stigma items” such as alcohol and unhealthy foods. Oh, the things we do when we think no one is watching… 

So, shame is, on one level, a functional tool which does the essential job of guarding the life and boundaries of a community. Perhaps one or two of us still eats a little too much and drinks a little too much, but shame is one of the things that keeps most of us from going too far, too often – or at least the threat of shame tends to discourage. As Graham Tomlin has recently explored – we still live in a society that equates over-indulgence with a lack of virtue.  

It’s one thing for shame to guard certain moral boundaries (as long as we can all agree what they are) but we’re in a troubling place with the social ones. 

However, when an individual does step out of line, then the shaming process has two modes of presentation: exposure or exclusion, sometimes both. This is most clearly seen in a court of law, where an offender is first ceremonially declared to be guilty (exposure) and then is subsequently sentenced (exclusion) – often “removed” from society, at least for a while, via a custodial sentence or a curfew. In this very clear way, shaming plays a functional role for the well-being of society as a whole.  

But these two prongs of the shaming process can also happen in rather dysfunctional ways, some of which are dangerously subtle. We fear the recycling bin disgorging its contents because there is a certain social shame in being seen to consume too much junk. Fine. But what about the teenager who is compelled into a cycle of disordered eating because a schoolfellow has pointed the finger and said the dreaded word, “fat”? Likewise, many people love a chit-chat, and the fear of being excluded from a social group usefully prevents most of us from being too fixed on one topic, or from appearing inattentive or impolite. But in my research with autistic people, some have shared that they feel shamed out of social groups entirely simply because “chit-chat” is not right for them. Some have a language processing delay, others find “small talk” a bit confusing and inane and would rather talk about something specific. It’s one thing for shame to guard certain moral boundaries (as long as we can all agree what they are) but we’re in a troubling place with the social ones. Some of this shaming doesn’t sound very functional, not if the wellbeing of society is supposedly the goal.  

The inverse of shame is empathy. Where shame excludes, empathy shows attentiveness. 

Perhaps the saltiest example of this problem is the now infamous “cancel culture”. I know – even I can’t believe I would risk bringing that up as a writer, that’s how charged this debate has become. But de-platforming, boycotting, or publicly castigating someone for the views that they express – these are shaming activities, an attempt to render an individual exposed and excluded. It can be a very tricky argument as to whether this counts as functional shame, guarding the wellbeing of society, or dysfunctional shame, guarding little more than social norms.  

We ought to try and take it on a case-by-case basis, but even then, sometimes what one person takes as a moral absolute another person sees as a social choice. At the same time, those who hold dearly to certain moral absolutes sometimes lose sight of the societal impact of what they say. The result can be a strange kind of war, one where there is virtually no engagement between two opposing factions, and the only weapons are a string of press releases and a whole lot of contempt. Eventually, often regardless of there being no engagement and no progress, both sides vigorously declare themselves to be the winner.   

Jesus once said a strange thing when he was talking to a crowd. He said: “Settle matters quickly with your adversary who is taking you to court. Do it while you are still together on the way.” In other words, “Just have a chat first,” says Jesus, “and see if you can’t come to terms.” It was part of a much longer discourse where he also told the crowd to “love your enemies” – and this with the kind of love called agape, a love which favourably discriminates and chooses someone – very much the opposite of shaming them.  

For my own research I have looked in depth at the shaming experience, and one of the conclusions that I come to is that the inverse of shame is empathy. Where shame excludes, empathy shows attentiveness. Where shame exposes an individual, empathy draws them into discussion. To empathise with someone is not to agree with them, but it is to recognise they are human just the same, and that through openness and dialogue it is possible for people, even those who have very different experiences of the world, to explore each other’s perspectives. The end point of that exploration may not be agreement – it might still be everyone back to their corners. But in the process no one has been shamed, no one exposed or excluded, no-one othered or dehumanised.  

Of course, it is far easier to point the finger, to expose someone to the court of public opinion, and then to turn one’s face away, nose in the air, mouth clamped shut in an apparently dignified silence. On the surface this seems like the elegant response – live and let live – but in fact it is not: to designate someone as not worthy of attention is to very publicly inflict shame. We might as well clamp them into a scold’s bridle and lead them down the street. And, as we do so, let’s hope it’s not a windy day – or if it is, let’s be sure that we have firmly tied down the lids of our recycling bins.   

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.