The Walk

THE WALK

THE WALK

Background THE WALK is a sculpture commissioned by Emmaus College, Jimboomba. In alignment with the school’s philosophy, The Walk depicts the bible story of two disciples, as described in Luke 24:13-35.

The sculpture accurately represents the terrain crossed in their journey with “the stranger” from Jerusalem to Emmaus, in a west-northwest orientation. A range of colours and materials are used to express the emotions of the travelers on this most important journey. Colour values and tones move from dark to light, depicting the evolution of the disciples’ awareness, changing from despair over Christ’s death to faith in his resurrection.

Consistent with the number of books in the Bible, each of the 66 triangles has a message and a purpose within and contributing to the overall sculpture, forming a large “Yellow Star of Bethlehem” flower. This bible story is a symbol for Christian spiritual growth and The Walk is a visual model to guide Christians’ own journeys to deeper faith and, as well, is an instrument to lead others through this same journey.

Name of Artist Dimensions Year Created Limited Edition Medium

Jaco Roeloffs 2493mm x 1100mm 2019 1 of 1 Mixed Aluminium - Clear, Nickel, Grey, Black Mirror, Black Ceramic, Slate, Aluminium Spill, Petrified Wood, Leather, Mosaic, Fabric, White Glass, Laminated Yellow Glass

Page 4

The Journey There are 3 sections to The Walk that plot the journey: the Beginning; the Learning; and the End. The sculpture is comprised of 66 triangles, with the triangular shape representing both the Holy Trinity, with God at the pinnacle of all creation. The majority of the triangles (65%) are made of anodised aluminium. The remaining triangles feature other materials with each material chosen for its colour and texture to convey the emotions of the disciples during their walk as well as elements of the fauna, flora and terrain encountered during their journey.

END

LEARNING

BEGINNING

Page 5

The road from Jerusalem to Emmaus

””That same day two of Jesus’ disciples were going to the village of Emmaus, which was about seven miles from Jerusalem.”

Luke 24:13 (CEV)

Page 6

Road Map The road to Emmaus is roughly 7 miles (11 Km). The sculpture depicts the route that the 2 disciples walked from Jerusalem to Emmaus, traveling in a west-northwest direction. Attached is a current-day map of the journey taken by the disciples as well as a representation of the topography traversed, which together, provide the structural basis for The Walk.

Topography

Page 7

Inspiration The artist’s inspiration came from a number of sources, including the painting “Supper at Emmaus” by Baroque Master Caravaggio, in particular the pilgrim shell worn by the disciple Cleopas, which represents Christian pilgrimages or earthly journeys towards heaven. Inspiration also comes from the Israel’s rural landscape and the flower,Yellow Star of Bethlehem, both the same as seen through the eyes of Jesus and the two disciples.

Petrified wood conjures images of permanency and the wooden cross of the crucifixion.

Black mirror and glass connotate reflection, transparency and introspection while Mosaics from the Samaritan synagogue of Shaalbim inspired colour and foreshadowed enlightenment and happiness. The artist also drew on his own faith as inspiration, including moments of thoughtfulness and introspection during his own walks to admire the wonders of the world.

Page 8

Colour Study The colour study illustrates the progression from darkness to light. Starting in the east (right), The Walk’s colours are dark and somber, reflecting the mood of the disciples who were in the midst of a spiritual struggle at the beginning of the Road to Emmaus. In a state of despair, they were discussing the crucifixion when they are joined by a stranger who asks them what they are discussing. They did not recognise Him and he rebukes them for their unbelief and explains what the Scriptures had said about the Messiah. As they learn the Scriptures, their hope is restored and, to reflect this, colours of the sculpture are gradually lighted. On reaching Emmaus, they ask the stranger to join them for the evening meal during which time their eyes were opened� and they recognise him as the resurrected Jesus. The recognition of Jesus and the restoration of faith are represented by the burst of light at the top of the sculpture.

Page 9

The Walk There are 66 triangles in the sculpture in total, matching the exact number of books in the Old and New testaments.

””Jesus then explained everything written

about himself in the Scriptures, beginning with the Law of Moses and the Books of the Prophets.”

Luke 24:27 (CEV)

Three shades of aluminium (clear, nickel and blue) dominate the negatives spaces in the sculpture.

The Saviour, who knows the Word of God perfectly, because of His intimate union with the Spirit who is its Primary author, expounded to them in broad outline all the Scriptures that referred to Him. From the first books of The Old Testament and right through to the end. With burning hearts (Verse 32), but still unaware that it is Jesus Himself who was teaching them, they listened to His incomparable exposition of the deepest contents of the Old Testament. And thus they learned that everything that happened to the saviour was in agreement with the prophetic Word and that He would still be revealed as Conqueror (Geldenhuys, 1977).

Page 12

Aluminium The cold and emptiness of anodised aluminium conjures feelings of nothingness and openness to more as a ready receptacle to receive the word of Jesus and be transformed to warmth.

Page 13

””As they were talking and thinking about what had happened.”

Luke 24:14 (CEV)

As viewers of The Walk inspect the sculpture, their own images are reflected in the black mirror and they, in effect, become part of the sculpture. They are, perhaps, challenged to put themselves in the place of the disciples and evaluate their own faith. Would they make the journey from the somber tone of despair set by the black mirror to enlightenment represented at the end of the sculpture?

Page 14

Black Mirror Highly reflective black glass provides a medium for introspection in the context of doubt and sadness.

Page 15

””Then the chief priests and our leaders

had him arrested and sentenced to die on a cross.”

Luke 24:20 (CEV)

The black ceramic represents the dried mud in an empty waterway or dam, emphasising drought and despair.

In the confession of the men of Emmaus one clearly sees the violent struggle between hope and fear that raged in their hearts. And this gives us a clear picture of what went on that day in the hearts of all the other perplexed followers of the Crucified One (Geldenhuys, 1977).

Page 16

Black Ceramic The glazed ceramic represents cracked, dry earth ravaged by drought and symbolises a ready vessel to receive the restorative rains just as the hearts besieged by doubt and despair yearn to be healed by the restoration of faith.

Page 17

””Jesus asked them,“What were you

The slate represents the cold black and grey stone on the hard road ahead for the men.

talking about as you walked along?” The two of them stood there looking sad and gloomy.”

Luke 24:17 (CEV)

Page 18

Slate The subdued, dark tones of the rigid natural slate, trimmed to triangular shape, elicits feelings of loneliness and an anticipation of the arduous walk across the unyielding terrain ahead.

Page 19

””On the last and most important day of

the festival, Jesus stood up and shouted, “If you are thirsty, come to me and drink!

Have faith in me, and you will have lifegiving water flowing from deep inside you, just as the Scriptures say.”

John 7:37-38 (CEV)

The spilt aluminium represents water. Water glistening in the sun. As the disciples are listening and learning, they grow thirsty for more throughout their journey.

He compares the life in Him (which ultimately becomes the life in us) to living water, calling it a well, a fountain, a stream, a river and rain.

Page 20

Aluminium Spill Randomly spilt aluminium, represents flowing waters; the rivers of healing, learning, faith and life.

Page 21

””If they had been talking about the land where they had once lived, they could have gone back at any time. But they were looking forward to a better home in heaven. That’s why God wasn’t ashamed for them to call him their God. He even built a city for them.”

Hebrews 11:15-16 (CEV)

The scallop shell of Saint James is believed to promote courage, strength and hope. From this close association with the Camino, the scallop shell was more generally known as a symbol Of pilgrimage. It was used to symbolise the Christians’ journey towards heaven, evoking the Letter to the Hebrews and how we “are pilgrims and strangers on the earth” (Hebrews 11:13).

The scallop shell is said to be a metaphor, its lines representing the different routes pilgrims traveled from all over the world, all walking trails leading to one point: the tomb of Saint James in Santiago de Compostela. Pilgrimages evoke our earthly journey toward heaven and are traditionally very special occasions for renewal in prayer, for pilgrims seeking living water.

Page 22

Pilgrim Shell The anodised aluminium etched with an engraving of a pilgrim shell, along with its parallel lines, represents solidarity in the journey, towards enlightenment.

Page 23

””Didn’t you know that the Messiah

Petrified wood adds the effect of aged wood dating back to ancient times.

would have to suffer before he was given his glory?”

Luke 24:26 (CEV)

Page 24

Petrified Wood Polished petrified wood evokes senses of nature, life, permanency and the wooden cross of the crucifixion.

Page 25

””They kept up the attack until there

was nothing to eat in the city. In fact, a donkey’s head cost about two pounds of silver, and a small bowl of pigeon droppings cost about two ounces of silver.”

II Kings 6:25 (CEV)

The road to Emmaus was surrounded by fauna and flora. Most prominent is the “Yellow Star of Bethlehem. The Star of Bethlehem (Ornithogalum umbellatum), which is a member of the hyacinthaceae family and is related to garlic and onions. It has several common names, such as Arabian flowers, field onions, wonder flowers, and pigeon droppings. Its scientific name is thought to have originated from the flower bulbs referred to as “Dove’s Dung” or “Pigeon Droppings” in the Bible and to have derived its name from the Greek word ornithogalum meaning “bird’s milk flower”. The common name has another intriguing origin; historically, the bulbs of the Star of Bethlehem flower have been boiled and eaten much like potatoes and continue to be eaten in some locations. The ancients ate Star of Bethlehem bulbs raw or cooked and even dried them to eat on pilgrimages and journeys. The roots of this plant are the Dove’s dung (seed pods), which were highly valued during the siege of Samaria. The Star of Bethlehem’s message is one of hope for the future, innocence, purity, trust and honesty.

Page 26

Yellow Star of Bethlehem The anodised aluminium etched with an engraving of the Yellow Star of Bethlehem, which still grows today, symbolises hope, life, trust and honesty, continuity and growth.

Page 27

””Jesus asked his disciples,“When I sent you out without a money bag or a traveling bag or sandals, did you need anything?” “No!” they answered.”

Luke 22:35 (CEV)

Leather represents the returning warmth and our physical and metaphorical connection to this world through the clothing, shoes and protection provided by the living earth. Leather is an age old material and is still used and valued today, again representing a connection and continuity with the past.

Page 28

Leather Polished Australian leather, yields impressions of living warmth and the protection and clothing provided by our living earth. Used since ancient times, leather provides feelings of a separation from the temporal.

Page 29

””When the two of them came near the

village where they were going, Jesus seemed to be going farther. They begged him,“Stay with us! It’s already late, and the sun is going down.” So Jesus went into the house to stay with them.”

Luke 24:28-29 (CEV)

Colourful mosaics with geometrical patterns and inscriptions in Greek with names in the Roman baths in Emmaus. In both Basilicas, colourful mosaics with geometrical patterns and inscriptions in Greek with names of benefactors were found. In the northern nave of the southern Basilica, a “Nile” style mosaic portraying birds, animals and flowers was discovered.

Page 30

Mosaic A Mosaic constructed from handmade terra cotta tiles provides colour and brightness, foreshadowing a turning point of the coming enlightenment.

Page 31

””They said to each other,“When he

talked with us along the road and explained the Scriptures to us, didn’t it warm our hearts?”

Luke 24:32 (CEV)

White glass represents a lightening of the weight on the besieged hearts of the disciples in anticipation of what is about to occur as the disciples’ hear the stranger speak.

Page 32

White Glass Ultra-clear white glass provides feelings of relief and light entering the darkness.

Page 33

””After Jesus sat down to eat, he took some bread. He blessed it and broke it. Then he gave it to them. At once they knew who he was, but he disappeared.”

Luke 24:30-31 (CEV)

The fabric represents the white garments of Jesus as it becomes clearer that He is revealing Himself to them.

When the food was prepared and they sat down at the table, the Saviour took the leading place at the meal: He took the bread, gave thanks to God before the meal, broke the bread and gave it to the men. As ordinary disciples they had not experienced Holy Communion but would have heard accounts from the apostles of how Jesus had acted at the paschal repast on the evening before His crucifixion (Geldenhuys, 1977).

Page 34

Fabric Fabric sealed between ultra-clear glass represents Jesus and his revealing to the disciples and their restored clarity of belief along with shock and excitement.

Page 35

””So they got right up and returned to

Jerusalem. The two disciples found the eleven apostles and the others gathered together. And they learned from the group that the Lord was really alive and had appeared to Peter.”

Luke 24:33-34 (CEV)

Yellow glass represents the light. “All doubt was banished from their hearts after they realised that it was Him. They now know that He is risen and He lives as the Messiah, the promised Redeemer.

This certainty immediately brings such a light and joy into their hearts, that they have an irresistible urge to give others also a share in their joy” (Geldenhuys, 1977).

Page 36

Yellow Glass Highly reflective yellow glass proclaims that Jesus is the light; love, faith and hope.

Page 37

References

The Holy Bible Contemporary English Version (CEV) New International Commentary on the New Testament:The Gospel of Luke by Geldenhuys, Norval Tenth printing, April 1977 Emmaus-nicopolis.org http://www.emmaus-nicopolis.org/English/

Credits

Thanks to God, for giving me this opportunity to do what I love, and do it for Him. My wife Sarah for her support with everything. My kids for helping me see the small and beautiful things that I may have missed. My parents for their help and interest. Dorøn Rosmarin and Emmaus College for choosing me, and trusting me with this work.

Lindsay for key insights and inspiration.

About Permalink www.jacoroeloffs.com/project/the-walk I am Dutch South African sculptor based in Brisbane, Australia. I work with modern materials and technology to show the beauty of our planet.

Specialties Interpretation and new perspectives on subjects and nature.

Use of old and new materials combined with modern tools and machines. www.jacoroeloffs.com www.facebook.com/jroeloffs.sculpture www.instagram.com/pjroeloffs/

Jaco Roeloffs