Visualizing Faith At Asbury Theological Seminary

Visualizing Faith At Asbury Theological Seminary Edited By Robert Danielson

Visualizing faith By Robert A. Danielson First Fruits Press, Š2018 ISBN: 9781621718048 (print), 9781621715818 (digital), 9781621715825 (kindle) Digital version at http://place.asburyseminary.edu/firstfruitsbooks/15/ First Fruits Press is a digital imprint of the Asbury Theological Seminary, B.L. Fisher Library. Asbury Theological Seminary is the legal owner of the material previously published by the Pentecostal Publishing Co. and reserves the right to release new editions of this material as well as new material produced by Asbury Theological Seminary. Its publications are available for noncommercial and educational uses, such as research, teaching and private study. First Fruits Press has licensed the digital version of this work under the Creative Commons Attribution Noncommercial 3.0 United States License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc/3.0/us/.

For all other uses, contact: First Fruits Press B.L. Fisher Library Asbury Theological Seminary 204 N. Lexington Ave. Wilmore, KY 40390 http://place.asburyseminary.edu/firstfruits Danielson, Robert A. (Robert Alden), 1969Visualizing faith [electronic resource] / by Robert Danielson -- Wilmore, Kentucky : First Fruits Press, Š2018.

1 online resource (77 pages : color illustrations ; cm.) : digital.

An exhibition of Christian art displayed in the Fall of 2015 from various collections found in the B.L. Fisher Library Archives of Asbury Theological Seminary.

ISBN - 13: 9781621715818 (electronic) 1. Christianity and art--United States--Exhibitions. 2. B. L. Fisher Library. Archives--Exhibitions. I. Title. II. Asbury Theological Seminary. III. B. L. Fisher Library. Archives.

N7824.4.W54 D36 2016eb Cover design by Jon Ramsay

704.9

First Fruits First FruitsPress Press The Academic Open Press AsburyTheological Theological Seminary The Academic Open Press ofofAsbury Seminary 204 Lexington Ave.,Wilmore, Wilmore,KY KY40390 40390 204 N.N. Lexington Ave., 859-858-2236 859-858-2236 first.fruits@asburyseminary.edu first.fruits@asburyseminary.edu asbury.to/firstfruits asbury.to/firstfruits

Table of contents

The History of Visualizing Faith . . . . . . . . . . . . . . . . . . . . . . . . . . .

...

2

The Visualizing Faith Exhibit Holiness Camp Meeting Painting: The River of Death . . . . . . . 6 Sunday School Cards And Papers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Magic Lantern Slides From The Methodist Fair . . . . . . . . . . . . . . 12 Father Divine Political Banner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Christian Endeavor Banners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

The Visualizing Faith Contest Rules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Visualizing Faith Scoring Sheet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Transformation 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Transformation 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Transformation 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Transformation 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Budding Still . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Genesis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Now Faith is the Assurance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Threaded Eucharist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 The End of my Rope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 Blossoming Faith . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 Elder Son . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 He Refreshes My Soul . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 Lot’s Wife . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Wildflower . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Overflowing Cups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 Lamb Quilt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 The Petitioners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 How I Visualize My Faith . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 Nothing For Sale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 Faithful Among Failure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 He Leadeth Me . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 The Way Out is Through . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 Faith in Flowers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 The Earth is Filled with His Glory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 Obedience . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Visualizing Faith | 1

2 | Robert A. Danielson

THE HISTORY OF VISUALIZING FAITH Throughout the history of the Church, Christians have attempted to explain the oftenindefinable nature of what we believe in multiple ways. While we are familiar with sermons, speeches, and writings, often these forms do not seem sufficient to capture all that we believe. From early paintings in the Catacombs, to Byzantine mosaics, to illustrated medieval manuscripts, Christians have often sought to visualize their faith.

What is it about the visual image that helps us move psychologically to a deeper level? Why do beautiful stained glass windows of biblical stories take our breath away or bring us to tears, when the written accounts of the story might not affect us at all? For hundreds of years of the history of the church most believers could not read. The Bible was read aloud. It was an oral experience. The images found on paintings or tapestries or in sculpture reminded people

of these stories, but also helped early Christians feel more like they were a part of the story itself.

The artist provides the context from which this experience emerges. Whether it be through color, movement, or perspective, the artist places the viewer in a certain time and moment which might challenge or confirm the viewer’s emotional experience.

The artist seeks in some way to share his or her own faith story at a visual and emotional level. It is difficult to know why we connect to certain works, or on the flip side why we may not connect at all with other works. The visual world is not as easy to explore as the world of words and texts. Much of art, like our faith itself, is a mystery. And yet, for some it is easier to express their faith through a visual medium then to tell their personal testimony.

Visualizing Faith | 3

In the Fall of 2015, the Archives and Special Collections of B.L. Fisher Library explored this topic by displaying items from our collections where people have attempted to put pictures to what we believe.

Our central image was a nine-foot-high painting of an image titled “The River of Death,� which was used in holiness camp meetings about 1900-1910. It provides a fascinating look at how faith was seen in the Holiness Movement of the late 19th century, but it also provides a great conversation point to think about how our faith has changed over the past one hundred years.

This booklet brings together both the exhibit itself, as well as an art contest we held on campus encouraging artists in our community to visualize their own faith.

The rules, judging sheet, winners, and most of the contestants are included in this booklet. Join us, as we seek to explore what it means to visualize faith!

The Visualizing Faith Exhibit

6 | Robert A. Danielson

HOLINESS CAMP MEETING PAINTING: THE RIVER OF DEATH Rev. Martin Wells Knapp (1853-1901), founder of God’s Bible School in Cincinnati, Ohio, was a well-known author and evangelist in the Holiness Movement. Known for his progressive use of technology in evangelism, he incorporated magic lantern slides, the blackboard, and various charts and maps into his sermons. His most popular image was Wrecked or Rescued, also known as The River of Death. The Publishing House for Holiness Literature originally produced it as a chromolithograph in 1892. It was printed in seven colors and measured 22 X 28 inches.

version of the Wrecked or Rescued chart was used in Holiness Camp Meetings as a teaching tool in New England and along the mid-Atlantic coast of the U.S. It comes from the collection of Rev. Arthur Greene (1865-1946), a radical Holiness evangelist from Rhode Island.

The image pictures the violating of the Ten Commandments as ten tributaries merging into the “River of Death.” Going down the river leads to the “Falls of Eternal Despair” and Hell. Various lighthouses and salvation boats point sinners to the “Plains of Regeneration,” “Holiness Heights,” and finally Heaven itself. Knapp wrote a book, Rescued!

The image on display here was painted on or, The River of Death as a key to explaining this heavy muslin by a sign painter from Norwich, image.

Connecticut, named J. W. Mallett. Most likely For further reading: Martin W. Knapp, The it was painted between 1900 and 1910, and the River of Death and Its Branches. Wilmore, KY: painter stayed true to the colors used in the original chromolithograph. This nine-foot high First Fruits Press, 2015.

Visualizing Faith | 7

8 | Robert A. Danielson

Sunday School cards and papers Protestant images aimed at children began appearing in the late 1700’s in primers and early illustrated books, but by 1824, American Sunday schools also began using gift cards to invite children to Sunday school, and these were often used as admission tickets. As early as 1850, visual images for Sunday school education began to appear. There was an explosion of illustrated books, tracts, and newspapers aimed at children during the mid to late 1800’s as a theological shift began to accept the idea that children could receive salvation without waiting to attain adulthood.

numbers. Designed to fit easily in a pocket and yet compete with advertising cards and other childhood ephemera of the time, Sunday school cards were an innovation in helping reinforce the religious lesson from Sunday school.

Bright, colorful, and exciting visual images helped remind the child of the scripture for memorization, while the card itself served as a Sunday school lesson in miniature to be reviewed at home. Sunday school cards and the images they used became a means through which generations of children not only learned about God, but emotionally and spiritually connected to God With the development of the international through the use of their senses in a very physical uniform lessons of the National Sunday and theologically significant way.

School Conventions and the invention of color lithography, companies, such as the For further reading: David Morgan, Providence Lithograph Company and David C. Protestants and Pictures: Religion, Visual Culture, Cook Publishing Company began publishing and the Age of American Mass Production. New and distributing Sunday school cards in large York, NY: Oxford University Press, 1999.

Visualizing Faith | 9

10 | Robert A. Danielson

Visualizing Faith | 11

12 | Robert A. Danielson

Magic Lantern slides from the methodist fair The magic lantern, which could be used to project an image through a glass slide by use of a candle or oil lamp, was invented in the 16th or 17th century, and was initially used to conjure up spirits or devils for audiences of people by magicians and conjurers. Later, illusionists and Spiritists used them to raise “ghosts” using wheeled trolleys and gauze screens to make the images move and float. By the early 19th century, magic lanterns and their glass slides became used for entertainment.

Often hand-colored, the fragile glass slides are easily broken, but were able to capture exceptionally clear images for projection purposes before the use of film based slides.

These slides are from a rare set of 26 glass lantern slide plates depicting the Centenary Celebration of American Methodist Missions, which was held from June 20 to July 13, 1919 at

the Ohio State Fairgrounds in Columbus, Ohio.

Commonly known as the Methodist World’s Fair, this extravaganza was organized to celebrate the founding of the Missionary Society of the Methodist Episcopal Church in 1819. In addition, it aimed to gather millions of dollars for missions and recruit future missionaries, while also showing the world the success and challenges of the “civilizing” mission of the time. Over one million visitors are estimated to have attended to hear speakers such as World War I war heroes General John J. Pershing and Alvin York, and well-known politicians such as William Jennings Bryan, former President William Taft, and Alice Paul, a national advocate for women’s right to vote. In addition, there was a Ferris wheel, live animals, a Wild West show, and fireworks to entertain the visitors. Over 500 “native” Christian converts were brought from 37 countries in Africa, Asia, and South America, along with parts of their homes and villages and their material culture.

Visualizing Faith | 13

Sponsored jointly by the Methodist Episcopal Church and the Methodist Episcopal Church, South, who would unite 20 years later in 1939 to form the Methodist Church; this was an effort to show the history and current progress of Methodist missions. Although the financial goals of the pledges were never fulfilled, to the great embarrassment of some leaders, this was one of the largest religious events of its day.

Coming after the end of World War I, but before the economic crash of the depression, it was a triumphant assertion of the future possibilities of Methodist missions in winning the world for Christ in the 20th century. On June 27, Dr. Edward Soper gave a sermon of about 300 words through a megaphone from 300 feet above the ground in the army dirigible A-4 out of Akron, Ohio as just one example of the possible use of modern technology in missions.1 1 Anonymous report in Aircraft Journal Vol. 5, July 5, 1919, p. 13.

One stunning success of the Methodist World’s Fair was a pageant called The Wayfarer written by a Seattle minister, James E. Crowther.

This pageant required 1,500 actors, 1,000 chorus members, and 75 musicians from the Cincinnati Symphony Orchestra, and included well-known actors from Broadway and the silent film industry. The stage was built in the New York Metropolitan Opera House and shipped in ten railroad cars to Columbus. The pageant covered the history of Christian missions from the early days of the Church through the Reformation, John Wesley, and included a patriotic conclusion with Presidents of the United States. The Wayfarer was so successful it later played for six weeks at Madison Square Gardens.

An historic event occurred on July 8, 1919, which was “Motion Picture Day”, when denominational leaders met with members of the National Association of Motion Picture Producers

14 | Robert A. Danielson

for the Church Motion Picture Convention. The goal was to encourage the production of wholesome and educational productions suitable for American Methodists. Hollywood films along with missionarymade ethnographic films were extensively shown, including some on a ten-story high movie screen billed as the “world’s largest motion picture screen”.

This was still at a time when the discipline of the Methodist Episcopal Church was opposed to members watching motion pictures for entertainment. After 1919, this stance changed rapidly. Connected to this openness to silent film, famous Hollywood director, D.W. Griffith was present with his motion picture cameras to record the events of the Centenary Celebration and to film The Wayfarer.

For further reading: Christopher J. Anderson, The World is Our Parish: Displaying Home and Foreign Missions at the 1919 Methodist World’s Fair.

Ph.D. Dissertation. Madison, NJ: Drew University, 2006.

Visualizing Faith | 15

The Methodist World's Fair of 1919

16 | Robert A. Danielson

The A-4 Dirigible and Giant Movie Screen

Visualizing Faith | 17

D.W. Griffith (with bullhorn) filming

18 | Robert A. Danielson

An actress in "The Wayfarer"

Visualizing Faith | 19

20 | Robert A. Danielson

father divine political banner Rev. Major Jealous Divine (c. 1876–1965), also known as “The Messenger,” was an AfricanAmerican religious leader from 1907-1965, and was the founder of the International Peace Mission Movement. Nothing is known about his family, origins, or even his birth name, although it may possibly be George Baker. While coming from a Baptist background, Father Divine preached throughout the South and claimed to be God. His message that negative thinking led to poverty and unhappiness was one of the early roots of the prosperity gospel. Living in a communal house with his followers, offering free banquets and helping the unemployed find jobs, were early characteristics of his ministry.

until the Harlem riot of 1935. Increasingly Father Divine began to advocate for civil rights, desegregation of the schools, and racial justice.

He and his followers also worked hard to pass anti-lynching bills in various states. Financial and sexual scandals plagued the movement in the late 1930’s and early 1940’s, and ultimately reduced the influence of the movement.

After his death, Mother Divine led the movement and had to fight an attempted takeover by Rev. Jim Jones of the People’s Temple, who claimed to be a reincarnation of Father Divine. Jones based some of his doctrines and practices on Father Divine, although Jones’ movement ended with the mass suicide of 909 people in 1978 at Jonestown, Guyana.

Father Divine’s work was interracial and For further reading: Kenneth E. Burnham, focused primarily on economic uplift, and as such it attracted followers during the Great God Comes to America: Father Divine and the Depression. It largely remained out of politics Peace Mission Movement. Boston, MA: Lambeth Press, 1979.

Visualizing Faith | 21

22 | Robert A. Danielson

christian endeavor banners Early on, as the Christian Endeavor organization began to expand globally, some of the societies overseas would send banners to represent themselves at the annual conventions, since it was too far and too expensive to send delegates halfway around the world. Beginning in the early 1890’s China and Japan especially sent elaborate banners often in silk and hand-colored or embroidered as gifts for the Convention. These banners would be presented by visiting missionaries or clergy members who were travelling to the U.S. on behalf of the members in these far away locales.

previous year. This created quite a competition as the banner moved from region to region each year, over the next ten years.

In addition, local organizations made and displayed their own regional banners at conventions. In 1890, a special banner was made of badge ribbons that were sewn together. In 1891 it was decided to award this banner to the society that showed the greatest proportionate increase in its number of societies over the

A few remarkable examples of the international banners still exist in the collection, often in a very fragile state. They remain clear examples of the vitality of societies all over the world and their desire to be a part of the Christian Endeavor movement and to participate in the annual conventions.

As this competition caught on, additional award categories were created and the banners given from abroad were used as the prizes. Many of the early banners described in the convention accounts no longer exist or have been lost over time as they were used for these competitions. By 1905, it appears the badge banners and the giving of the international banners as awards was ended in favor of newer award banners.

Visualizing Faith | 23

24 | Robert A. Danielson

Visualizing Faith | 25

visualizing

your

faith

Contest

28 | Robert A. Danielson

it along with your name, address, and phone number to contact you. All art pieces will be returned following the contest and any time they Who Can Enter: This contest is open to all may be on display. faculty, staff, and students at Asbury Theological Seminary, both on a physical campus or online.

How Many Entries: There will only be one entry per person, so make it your best work!

What Should be Entered: You can submit any original visual art media that can be displayed When is the Deadline: All entries must be (wall murals, floor mosaics, etc. are a little too submitted by October 15, 2015. Winners will be large for us to lift!). This can include: paintings, announced November 1, 2015. drawings, photographs, quilting or sewing projects, banners, collages, small sculptures, Who Receives Submissions: Linda Fleck at the etc. Along with this, submit a short description of why this helps you visualize your faith. There B.L. Fisher Library, Asbury Theological Seminary. is a limit of 100 words for the description and the Winners will Receive: First prize is a $100 description will not be used in final judging. The work will be judged on visual communication Visa gift card. Second prize is a $50 Visa gift card. only, with the description only being used in Third prize is a $25 Visa gift card. the case of a tie. However, the description will Judging: A panel of five (5) Asbury Theological be used for display purposes, so please include

Rules

Visualizing Faith | 29

Seminary students (who did not enter the contest) will do judging. Three of them will be international students to be sure the visual communication works across cultures. The name of the artist and description will be removed or obscured before judging. The judges will follow a written score sheet for the judging which will focus on how well the work communicates the theme of “Visualizing Faith.� Originality and the artistic impact on the judges will also be taken into account.

By submitting your original artwork to this contest, you will retain all copyright to your work, however, the seminary reserves the right to display your work and the 100 word description, including displaying it online or through social media for the benefit of online students, and also reserves the right to possibly use the image and description in a potential First Fruits book on the exhibit.

Asbury Theological Seminary also reserves the right to reject entries or to not display items that may be deemed potentially offensive.

Depending on the number of entries, a select number, including the winners, will be placed on display somewhere in the Seminary, in a site not yet decided.

30 | Robert A. Danielson

Visualizing Faith Scoring Sheet Judge Number _______________ Entry Number ______________

How much innovation went into this piece? Did it require special preparation or use unusual materials? Did it use ordinary materials in an especially creative way?

Category three (10 points)Artistic Quality

Art is often evaluated by how well it uses form, color, texture, line, and shapes. Would this piece Category one (60 points) look good in a museum, or does it seem more like Conveying the Theme the work of a beginner? How well has the piece How well does this piece convey the idea of faith used light, shapes, or colors to convey a unified in a visual form? Do you understand what is whole? Is the work balanced? being communicated? How well would the piece work if there were no text at all? Does the piece Category four (10 points) communicate “faith” or does it seem to represent Visual Impact some other theological concept? If you were a non-Christian, how well do you think this piece Does this piece personally impact you? Does it would teach you something about Christian “take your breath away”? Is it pleasing to the eye?

How well is it presented? Would you consider faith? hanging it on your own wall?

Category two (20 points) – Creativity

Total Score (out of 100 points) _____________

Visualizing Faith | 31 Note: For judging, do not use the written descriptions on the pieces except in the case of a tie. If there is a tie for first, second, or third place, the judges should reconvene and read the descriptions together and come to an agreement of which piece best expresses the ideas of Visualizing Faith in both the image and the description. However, for the first round of judging, only the visual image itself should be used.

Tramsformation 1

32 | Robert A. Danielson

Tramsformation 2

Visualizing Faith | 33

Tramsformation 3

34 | Robert A. Danielson

Visualizing Faith | 35 Title: Transformation Series 1-4 Artist: Laura Beach Media: Watercolor Winner of the First Prize by the Judges Description:

Tramsformation 4

This series of paintings evolved during a season of deep spiritual, emotional and physical healing.

They depict the movement from the external facade of false self towards an awakening of being fully alive in Christ. It is a movement from dualism towards integration, from isolation to community, from fear to the freedom that comes from the consummation of love by the power of the Spirit.

36 | Robert A. Danielson

Budding still

Visualizing Faith | 37

Description:

Title: Budding Still Artist: Ashlyn Orlosky Media: Mixed Media Winner of the Second Prize by the Judges

The beginnings of our faith were marked by fragility and uncertainty. As seeds were planted, conduits of insecurity and fear strived to deceive us. Their dreadful combination intended to rob us of intimacy rooted in the Father. At times we had been trampled, and in our frailty believed there was not love enough for us. But we were budding still. He wasn’t finished growing us.

Whispers of light, water, and firm foundations lead us back to an unending truth. We are loved. And this love is contagious. Through faith in Him this love is believable. It’s a faith that cannot be contained nor understood as it blooms in furious beauty. It can only spread to all creation, continually being nourished by restful hope.

38 | Robert A. Danielson

Genesis

Visualizing Faith | 39

Description: This is a piece of tension and contrast.

Brittle, dry leaves contrast fresh fruit. Vibrant, deep reds are contrasted with light green. Death contrasts life. At first glance, the eye is drawn to the green snake -- temptation, in tension with Title: Genesis the natural life of the rest of the piece. However, Artist: Taylor Zimmerman as the eye stays, the observer begins to see that Media: Photograph Winner of the Third Prize by the Judges temptation, though a very real distraction that draws attention from the rest of the piece is in fact lifeless and unsatisfying. Should we rest and let the motion of the piece continue, the snake will soon be gone.

40 | Robert A. Danielson

Visualizing Faith | 41

Title: Now Faith is the Assurance ...

Artist: Beth Todd Media: Colored Pencil on Paper Winner of the Fourth Prize by the Judges

Now Faith is the Assurance ...

Description: I have seen the goodness of God at work in my past, but I cannot see my future. Whatever may come, I have faith that, if I continue on the path that God has prepared for me, it will be beautiful.

42 | Robert A. Danielson

Threaded Eucharist

Visualizing Faith | 43

Description: This painting came about because of a prayer service I had attended led by Asbury’s own, Rev. Peg Hutchins. This service was held in Richard Allen chapel and we were all in a circle praying.

Title: Threaded Eucharist When Peg began to lead the liturgy for the Artist: Andrew Eberhardt Eucharist, and explained that we were going to Media: Painting on Canvas serve communion to each other, I immediately Winner of the Fifth Prize by the Judges saw in my mind’s eye a large needle with a red thread weaving in and out of each person. It was a beautiful picture of how the grace and mercy of Christ unites us all together at the table.

the end of my rope

44 | Robert A. Danielson

Visualizing Faith | 45

Description:

Title: The End of My Rope Artist: Emily Furman Media: Arcylic and Pen on Canvas

Faith can be difficult to hold on to in the midst of the chaos of life. But even when I feel like I am at the end of my rope, barely holding on, slipping into oblivion I choose to believe that the Lord is there. Whether I feel like it or not, He is there, ready for me when I choose to let go and be surrounded by his loving grasp. He is a constant support and guide, whether I am living in His grace or trying to foolishly make it on my own. And He is so much bigger and other than me.

46 | Robert A. Danielson

Visualizing Faith | 47

Title: Blossoming Faith Artist: Kelly Godoy de Danielson Media: Mixed Media of Fabric, Yarn, and Metal Beads Description:

Blossoming faith

Faith blossoms from the cross of Christ as it demonstrates the centrality of the love of God to the entire world, illustrated by fabrics representing North America, South/Central America, Asia, India, Europe, and Africa. The love of God and the work of Christ are global, but it is one united faith that emerges from the process. The fish in the border are a reminder that a key part of our faith is to be “fishers of people� and bring others from outside our community of faith into the knowledge of the love of God.

48 | Robert A. Danielson

Elder Son

Visualizing Faith | 49

Description:

Title: Elder Son Artist: Chris Chu Media: Colored Pencil on Paper in Black Moleskin Journal

Faith takes place in the context of relationship; our personal relationships with God do not take place in a vacuum, but in the context of His relationship with all humanity.

How does the elder son see the Father as the Father embraces his prodigal son? What does faith mean in light of how I see my Father? “But when this son of yours came, who has devoured the fattened calf for him!� (Luke 15:30)

50 | Robert A. Danielson

He refreshes My Soul

Visualizing Faith | 51

Description: “He leads me beside quiet waters, He refreshes my soul� (Ps. 23:3) Title: He Refreshes My Soul Artist: Issac Wheaton Media: Photograph

Whenever I hear those words written by the Psalmist so long ago, my mind is drawn to the peaceful sound of a waterfall. To hear the rushing sound of water over rocks, and to see such life that springs forth reminds me of my life in Christ. To know that He provides refreshment in seasons of life of both despair and delight fills me with joy.

52 | Robert A. Danielson

Lot's wife

Visualizing Faith | 53

Description: Title: Lot’s Wife Artist: Darryl Fitzwater Media: Pencil on Paper

Jesus is our continual redeemer. He said, “Remember Lot’s wife!” For me, this picture draws our focus to the redemption He gives to all those who trust Him. He will send His angels to deliver us from the fallen world and the destruction that is coming to it.

54 | Robert A. Danielson

wildflower

Visualizing Faith | 55 Description: “Walk into the fields and look at the wildflowers ... What I’m trying to do here is get you to relax, not be so preoccupied with getting so you can respond to God’s giving.” Luke 12 excerpt from The Message (MSG)

Title: Wildflower Artist: Audrey Wagner Media: Photograph

I meditated on Luke 12 at an Equipping Lydia retreat at The Quite Place in late September. I was lying on a bench in a field. I kept thinking, over and over again, that birds don’t worry, and wildflowers don’t spin. The Message translation helped me understand that God is always giving to us, and we don’t need to strive or think or worry, but rather just respond to His giving. Gazing at the sky above, I felt the world around me become a large, peaceful meadow, where God was taking care of each one of us; God is taking initiative, and we don’t have to worry. As I meditated on this, time seemed to stop, and I felt more like a bird or wildflower than I ever had before. I decided to use my love of photography to capture how I had felt as I had meditated on the beauty of being like a wildflower before God.

Overflowing cups

56 | Robert A. Danielson

Visualizing Faith | 57

Description: Title: Overflowing Cups Artist: Elad Shapira Media: Oil on Canvas

My faith is not my own. It is the product of apostles, saints, martyrs, and evangelists. Each of these overflowing cups poured God’s grace to the next until they finally poured into mine. I am part of a faith that not only spans geography, but time as well.

58 | Robert A. Danielson

Lamb Quilt

Visualizing Faith | 59

Description: Title: Lamb Quilt Artist: Anna Cooney Media: Fabric, Thread, and Batting

The fabric swatches sewn together to make this quilt were taken from various pieces of used clothing from my family members. They signify the Church family in every nation that is united into one. The lamb represents the sacrifice and lordship of Jesus Christ who is in communion with his church.

The Petitioners

60 | Robert A. Danielson

Visualizing Faith | 61

Description: Title: The Petitioners Artist: Robert Danielson Media: Photograph

This photo, taken in July of 2013 at the Cathedral of Santa Ana in Santa Ana, El Salvador, shows a family making their petitions to St. Anne, the patron saint of the city. The devotion of Latin American people to the saints is one of the most visible and powerful expressions of Christian faith that I have ever seen. St. Anne, the mother of the Virgin Mary, is especially called on for help in having children. The base of her statue is covered with photos of newborn babies that were answers to the prayers of faithful people.

How

i v isu ali ze my

fai th

62 | Robert A. Danielson

Visualizing Faith | 63

Description: Title: How I Visualize My Faith Artist: Noelle Anderson Media: Three Dimensional Scripture

God reaches down to His world through the blood of Christ. His blood reaches down through the darkness, giving us light and changing eternal lives.

64 | Robert A. Danielson

nothing for Sale

Visualizing Faith | 65

Description:

Title: Nothing for Sale Artist: Mary Hyer Media: Painting on Canvas

It’s as if the secular world is a glittering and promising life-promising greatness, but at what price? Some lose dignity in order to achieve popularity, others peace for “happiness.” The “shabby shack” in between secularity offers “Bread, Water, and Blankets for free,” symbolizing Matthew 25:35, “For I was hungry and you gave me something to eat, I was thirsty and you gave me something to drink, I was a stranger and you invited me in.” The audience can see the doors to secularity are dark, demonstrating the emptiness inside - whereas the “shabby shack” offers the only light.

66 | Robert A. Danielson

faithful among failure

Visualizing Faith | 67 Description:

Title: Faithful Among Failure Artist: Jessica Fleck Media: Calligraphy on Paper

This book was an exercise in being comfortable with failure. I picked a medium on which to do calligraphy that couldn’t be thrown away or changed. Every mistake would have to remain bound up with every success within the pages. During the year of creating this calligraphic art, I was struggling with trusting God in the middle of weakness- in the middle of pure failure. Allowing the failures to remain on the page was an act of faith, trusting that God was still working, that failure was not an ending but could cause beauty, creativity and vitality.

This page (2 Corinthians 12:9) is a representation of the entire work. You can see how I tried to practice but still didn’t get everything right - take a look at the “u” letters and the word “strongest.” However, the verse speaks volumes among the disillusion of failure.

Thus, this act of failure became the strength of faith.

“My grace, my beauty and dignity, is all you need.

It is perfectly made as a cover and shelter just for you.

My power is strongest and best when you are weak.”

(2 Cor. 12:9, paraphrase)

68 | Robert A. Danielson

He leadeth me

Visualizing Faith | 69

Description:

Title: He Leadeth Me Artist: Rachel Paddock Media: Collage and Paint on Canvas

This piece is inspired by Psalm 23. It helps me visualize my faith because it puts God’s word into an image for me. I can see the “green pastures” and the “still waters” that the Lord leads me by and it becomes more real to me. The image of the Shepherd and the sheep symbolizes that God is my Shepherd and I can trust in His guidance and rest in His presence. God’s Word comes to life in this piece to me and allows me to “visualize my faith.”

The Way out is through

70 | Robert A. Danielson

Visualizing Faith | 71

Description:

Title: The Way Out is Through Artist: Christina Dillon Media: Illustrated Manuscript

This piece is inspired by traditional illuminated manuscripts that were completed as pieces of visual art to complement scripture.

My own walk with God has been perseverant, but distressing. Moving past my old junk that held me back from becoming Christ-like is summarized by this scripture. I am continuously sanctified as I face the parts of me that I would rather ignore - my sin and my desires for things God asks me to set aside. God always makes a way through within this redemption process.

faith in flowers

72 | Robert A. Danielson

Title: Faith in Flowers Artist: Grace Yoder Media: Dried pressed flowers on Muslin

Visualizing Faith | 73 flower symbol for purity and humility. Another is the bleeding heart, (Used in the heart symbol), the flower symbol for undying love. The bleeding heart in this picture are white, which also adds an element of purity.

Description: The symbols of the cross and heart are recognized within many cultures as symbols of Christian faith. That is why I chose them for this flower picture. We are loved, and a great sacrifice was made for us because of that love.

If you look closely, you will see that those symbols are made from many different kinds of dried flowers. Many flowers have a symbolism of their own. In Victorian times, the type of flowers given sent the recipient a message. The message could be love, friendship, purity, or even one of great malice. This tradition, to some extent carries on today.

In this picture, you will see that one of the main flowers used in the cross is lilly-of-the-valley. The

Other flowers include: Daisy- purity, innocence, loyal love Larkspur- strong bonds of love Veronica- fidelity in adversity Coral Bells- challenge Yarrow (leaves)- healing and inspiration Oakleaf Hydrangea- gratitude, heartfelt emotion Coreopis- love at first sight Rudbeckia- encouragement Queen Anne’s Lace- sanctuary Delphinium- infinite possibility

the earth is filled with his glory

74 | Robert A. Danielson

Visualizing Faith | 75

Description:

Title: The Earth is Filled with His Glory Artist: Bethany Addington Media: Photo Collage

The voice of God speaks poetry in its truest form—living, breathing poetry; art unconfined by thought or word or abstract image. The language of the Creator pours deep into every fertile ground and whatever He declares takes root there and bursts vibrantly, richly, radiantly to life.

And so I can’t help but see in each intricate facet of creation the eternal glory and perfection of the One who spoke it into being. I can’t help but hear in each breeze and birdsong, “Holy, holy, holy, is The Lord God Almighty. The earth is filled with His glory.”

76 | Robert A. Danielson

obedience

Visualizing Faith | 77

Description:

Title: Obedience Artist: Nicole Liller Media: Mixed Media Collage on Canvas

During this stage of my life, my faith is defined by obedience: will I be obedient and follow God’s command in James 1:27 to look after orphans and widows in distress? God has given me a heart for international missions, and ministering in this setting is when I feel most alive. A part of my heart remains in Uganda, and I am excited to see if God will call me back there. I know God has given me this desire for a purpose, and I must be obedient to His leading.