Explainer
Creed
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5 min read

The year of the mystics

Ready to be turned upside down?
An abstact image hints at twisting figure in front of a St Andrews Cross.
Jr Korpa on Unsplash.

Last year, a journalist called me, completely out of the blue. We’d never met before, but she had a couple of questions she wanted answering about Christianity and, somehow, she found me.  

Firstly, she wanted to know what the heck was going on with Christianity at the moment – why can’t Nick Cave stop talking about his Wild God? What was up with Ayaan Hirsi Ali’s infamous U-Turn? Why, despite decline in church attendance and institutional failures, are more and more people finding themselves falling into the Christian story? I wish I had then, what I have now: Graham Tomlin’s round-up of 2024 as the year Christianity (for better or for worse) made somewhat of a comeback. Because, she’s right, it really has been quite something.  

But, leaving Graham to answer her first question, this article is an attempt to answer her second, far more unexpected, one: where are all the Christian mystics?  

I got the sense that this second question wasn’t being asked for the benefit of a piece she was writing, but for the sake of her own mystically inclined heart. I feel like what she was really asking was something akin to - is there a place within the Christian story for people who are friends with mystery and oddness, who want the unexplainable and the ecstatic, who consider ‘strange’ and ‘spiritual’ to be two sides of the same coin? Is there a way in for those who don’t want the weirdness of it all to be underplayed? Is there space within Christianity for one to be turned up-side-down by God’s ‘heart melting nearness’?    

Well, in short, yes. Completely and utterly. Yes to all of it.  

Where are the mystics, I hear you ask? It would be my pleasure to introduce you to a few of my favourites. 

First up to the plate, it’s Hildegard of Bingen (1098-1179).  

 A master of music, medicine and mysticism – Hildegard of Bingen is one of the most interesting women in German history. As a Benedictine Abess, she dedicated much of her time to mystical theology and philosophy, largely informed by her visionary experiences of God. She reluctantly recorded twenty-six of these visions in a piece of work entitled Sci Vias Domini (which translates to mean ‘Knowing the Ways of the Lord’). She also composed songs, again largely inspired by her visions of God, and even a musical mortality play entitled Ordo Virtutum.  

Her Christian mysticism bled into her understanding of science and medicine; she emphasises the deep interconnectedness of all living things - having originated from one creator - and therefore sees medicine as just as spiritual of a pursuit as theology. According to Hildegard, all is sacred, all is connected, and so the health of the natural world matters. It both informs and reflects our own health.  

Clare of Assisi (1194-1253) is celebrated as an Italian saint and founder of the Order of Poor Ladies.  

Born into a wealthy family, Clare shunned comfort, luxury, and an arranged advantageous marriage in favour of a life devoted to intimate and vibrant prayer.  She soon gathered a community around her, and their obvious disdain for luxury of any kind is what caught the world’s attention and earned them the title of ‘Poor Ladies’.  

Her life of prayer had dramatic consequences and, ultimately, saved the lives of those she loved. While their Order was under attack, Clare’s prayers caused a violent storm to sweep across the town and scatter the terrified attackers.  

Next up is a particularly strange (in the best way) character, Catherine of Sienna (1357-1380).   

Catherine had religious visions from the age of six or seven, and took them incredibly seriously, even then. As she grew older, her parents urged her to marry the widower of her sister, who had tragically died in childbirth. In response, Catherine cut off her hair and joined the Sisters of Penance of St. Dominic. That’s quite the outright rejection, isn’t it?  

After three years of isolation (during which she is said to have prayed, contemplated, and developed a rich understanding of Jesus’ death and its implications), she became quite the famous figure, feeling sure that God had commanded her to publicly speak of what he had told and shown her.  

Now for a personal favourite, Theresa of Avila (1515-1583).  

I read her prayers and poems endlessly. And, can you blame me? Just listen to this:  

Let nothing disturb you, 
let nothing frighten you, 
all things will pass away. 
God never changes; 
patience obtains all things, 
whoever has God lacks nothing. 
God alone suffices. 

The gentleness of her words are like a balm to a world that can so often sting us. And, indeed, stung Theresa, as she suffered with severe ill-health and persecution her entire life. Nevertheless, she developed a passion for mental prayer and is said to have heard God’s audible voice, seen visions, and even felt her body levitate.  She became infamous for her poetry, her mystic theology and her unusual independence as a medieval woman.  

These women, these mystics, are separated from us by time and context. And yet, to many, they are close companions. They are still aiding those on a quest to enter into Christianity through the ‘mystic’ door.  They are still reminding us that we oughtn’t be fooled by the pesky left-side of our brains, the part that wants us to believe that we understand all that’s worth understanding. They are still challenging us with the knowledge that all that we see is not all that there is.  

You want mysticism? Christianity can down-right give you mysticism.  

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Review
Art
Character
Creed
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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.