Up, Light/Light, Up

The idea of “Christian Art” is a subject that has been continually shrouded with a sense of discord. Few people can reach an agreement on how to define this term, or agree on what type of art this term should define. Yet, for those of us who consider ourselves Christians and who make art (or who participate in the art world in some capacity) it is a phrase we are forced to confront at some point. Given the contentious nature of this label, it is highly unlikely that a consensus will ever be reached, but just because the topic is a difficult one does not mean we receive a free pass to ignore it all together.

The exhibition Up, Light/Light, Up currently on view in Redeemer's new W83 Ministry Center strives to move beyond the stringent label and overt Christian imagery that is frequently associated with “Christian Art.” Instead, the exhibition endeavors to view art through a wider lens of both context and formal qualities. We are able to see how greatly the nature of a space affects the way in which we view objects. If the artworks had been installed in a white walled gallery few of us would perhaps have seen a connection between the collected works and Christianity. But, as the art is installed in a space dedicated to worship, the viewer automatically begins interpreting the works in a way that corresponds with its environment.

As the viewer continues to respond to the environment and the art works themselves, different formal elements in the works begin to take on new meanings. The diamond of light contemplated by a gathering of people in Joyce Lee’s Hover begins to feel like a modern day burning bush whose message the observers are struggling to comprehend. The chevron pattern in Heaven is Fey and Untitled by Wayne Adams lifts the viewer’s eyes higher and higher, seemingly to encourage the contemplation and worship of the One Most High. Or, through the house-like forms in Stephanie Imbeau’s sewn drawing, we are reminded that wherever we worship is considered the House of God, and in turn we are connect to a larger community of churches and believers, creating an expanding network of houses that belong to God. It quickly becomes apparent that in each work there is some bold light source, or upward moving line or shape that continues to encourage the viewer to contemplate ideas of faith and Christianity.

So it is through the quiet encouragement of light, movement, and context, that Up, Light/Light, Up is able to bring the viewer to a place of worship and contemplation. The success of the works in this space makes us wonder how we could ever consider these works to be anything but faith-based art. But it is also here in this same moment, if we are able to take a step back, that we realize just how much we allow our environments to affect the way we view and interact with art. This is not necessarily a bad thing: perhaps it will help us to also realize how precarious our attempts at defining “Christian Art” truly are. Maybe more important then establishing a clear definition of “Christian Art,” is establishing the ability and willingness to see God in the art and gallery spaces all around us, no matter how unlikely it may seem.

-Allison Peller

Up, Light/Light, Up exhibition will be on view this Sunday in Fellowship Hall after all services. Allison Peller is co-curator of Up, Light/Light, Up enlisting many CIVA artists.