A public celebration is a rope bridge of knotted symbols, strung across an abyss.  We make our crossings hoping the chasm will echo our festive sounds for a moment, as the bridge begins to sway from the rhythms of our dance. 
- Ronald L. Grimes

Judging from the number and diversity of images and stories submitted for this exhibit, the chasm (our church) is echoing and reechoing to the sounds of history, personal spiritual experience, political/social commentary – the pain and joy found in all our lives.  The feasts of the church year seem to create a rhythm of rituals mirroring our common journey.  I suspect that rhythm is a persuasive aspect of the choreography they have provided for generations. 

It is no surprise that these artists have ‘made visible’ the spiritual component of the Feast experiences – after all, that’s what we artists do.  And no one seems to have been overly constrained by prior expectations! These are remarkable, personal, sometimes painful responses to a connection with the Holy Spirit on many levels.  Like all visual representation, they are authentic for those who made them (the stories, bless them, tell so much about the journeys) and, like all visual representation, those who look upon them will ‘connect’ or not connect.  The best approach is often to enjoy what you enjoy immediately and search your heart about what it is that feeds your soul about a particular image.  Then, revisit the exhibit – hopefully often – to begin the ‘work’ of your reactions to the images that trouble you.  Herein lies the potential for having ‘new eyes’.

My own reaction was probably much like your own.  I looked at all the images, really connected with a few, had almost no reaction to some and thought I actually disliked others.  I then read all the stories, knowing how much I needed to know about these wonderful artists and their offerings.  I happened to have scheduled a weekend retreat at Holy Cross Monastery in upper New York state and left the images and their stories to ‘simmer’ over that time. Upon looking at them again, I found I really did have ‘new eyes’.  Particularly with those that had previously troubled me, I saw new aspects, new layers and new connections with the Spirit.

Fully one third of the images submitted concern themselves with Good Friday.  What does that say about the world we live in? What does it say about our soul’s need to understand the nature of sacrifice, atonement suffering and redemption? But two thirds of the images (the glass of life more than half-full?) present visions of joy, transformation, revelation and connection with the Spirit.  Must we pass through the valley of the shadow in order to truly know these experiences (probably)?  Are these ‘statistics’ reflective of the journeys of history or are they the product of ‘new eyes’?  Undoubtedly more research would reveal interesting parallels.

I am deeply grateful to the artists who submitted their images. Some have taken this ‘risk’ for the first time. My own experience in sharing the products of my creative energy through the medium of the ECVA Exhibitions has been one of realizing what a huge, connected, visual world exists within our beloved church. To be ‘in relationship’ with other Episcopal visual artists is to be in relationship with the workings of the Spirit. How amazing!  I am so appreciative of the dedication and passion so evident in the work of these artists and in the work of the folks at ECVA in putting the exhibit together.  Blessings on you all.

Judith McManis