Loading Video . . . When I first was chosen as an artist-in-residence for this year, I was thinking I’d be creating work about feminism. I chose Proverbs 8 to respond to, in which Wisdom, a woman, speaks about how ancient she is, and implores the foolish and naive to turn away from their pursuits and instead listen to the instruction of wisdom. I was thinking about making a political work about older women – and I still plan to, but not for this commission. Find the complete progression of the work linked below. Proverbs 8:32-36 Artist in Residence 2016: Lauren Ferebee Part 1 By Lauren Ferebee Credits: Curated by: Spark+Echo Arts, Artist in Residence 2016 2016 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link March 14, 2016 When I first was chosen as an artist-in-residence for this year, I was thinking I’d be creating work about feminism. I chose Proverbs 8 to respond to, in which Wisdom, a woman, speaks about how ancient she is, and implores the foolish and naive to turn away from their pursuits and instead listen to the instruction of wisdom. I was thinking about making a political work about older women – and I still plan to, but not for this commission. Instead, as I read the verse, I was struck by a question that bubbled up from within me, which was how does this verse relate to your life? At that point, my brain drifted back to an exhibit I had seen some years ago at the Metropolitan Museum of Art about the medieval Book of Hours, which was a book of prayers created individually for the lay contemplative – a religious person who was not a monk, but wanted a structure that emulated the disciplines of the monastic life. The books were beautiful, full of illuminated letters and drawings, many of them kept in special cupboards. The prayers in this book feel so personal in their individual way, prayers that reach out like a grabbing hand, blindly away from the self into the unknown divine. In Proverbs 8 , Wisdom says: Blessed are those who listen to me, watching daily at my doors, waiting at my doorway. For those who find me find life. I take this to mean that wisdom comes only to those who are willing to ask for help and are therefore willing to give up being right, to open up the heart to know more – in the broad sense of know, as in not only learning information and facts, but growing in the understanding of oneself and others So instead of creating a Great Political Work, I am taking this project as a challenge to understand more deeply how it is that one can answer wisdom’s daily call to her gate, how all of us – whether Christian, non-Christian, non-religious or other – can engage with the call to continually seek wisdom. Over the course of this year, then, I will be crafting a multimedia book of hours that engages the audience of the work in daily acts of contemplation that are theatrical and/or literary. The work examines the following questions: – How does asking for help intersect with living a more contemplative life? – What is wisdom? How do we know when it is found? – How do we daily, in word and action, invoke the spirit of wisdom in our lives? – How can wisdom and prayer live outside of their traditional forms? What are the many ways we understand prayer in different forms? This month I’ll be in residence at the Kimmel Harding Nelson Center in Nebraska City and I’ve brought a lot of books with me as I move into the research and execution phase of this project, including edited works of Thomas Merton into a Book of Hours . I’m also enrolled in a Harvard Online class that’s very closely examining the form and structure of the medieval book of hours, which I was excited to happen upon in the last couple of weeks. Next for me is the simultaneous actions of absorption and creation as I create a big list of ideas and an investigation into how the different pieces of Proverbs 8 will come under close examination in the larger piece. You can anticipate instruction booklets for contemplative action, philosophical dialogues with wisdom, video work and more as we continue forward together through the year. Spark Notes The Artist's Reflection Lauren Ferebee is a Texan native and a multidisciplinary artist whose primary mediums are playwriting and installation/video art. Most recently, her play The Reckless Season was selected for Stage West’s Southwest Playwriting Competition Festival of New Works, and her alternative screwball comedy Sexual Geography was a finalist for the Reva Shiner Comedy Award at the Bloomington Playwrights’ Project. In 2014, she was a juried fellow at Saltonstall Arts Colony, a semifinalist for the Shakespeare’s Sister fellowship and the first theatre-artist-in-residence at HUB-BUB in Spartanburg, South Carolina, where in addition to writing, she did community-based theatre work. Her most recent work includes Sexual Geography (developed at HUB-BUB), The Reckless Season (The Spartanburg Little Theatre/HUB-BUB), Somewhere Safer (FringeNYC 2013, Inkwell finalist), and Blood Quantum (At Hand Theatre & WET Productions). Three of her short plays, jericho, jericho , Bob Baker’s End of the World and The Pirate King are published online at indietheaternow.com , where Somewhere Safer is also published as part of the 2013 Fringe Collection. She is a member of playwriting collective Lather, Rinse, Repeat, and studied playwriting, screenwriting and television writing at Primary Stages/ESPA. Lauren also has regional and NYC credits as an actress on stage and in film, and from 2007-2010 was co-artistic director of a site-specific classical theatre company, Rebellious Subjects Theatre. She especially enjoys acting in and teaching Shakespeare and working on new plays. She holds a BFA in drama from NYU’s Tisch School of the Arts. Website Lauren Ferebee About the Artist Artist in Residence 2016: Lauren Ferebee Part 2 Artist in Residence 2016: Lauren Ferebee Part 3 while in a foreign land Wonders of the Deep Artist in Residence 2016: Lauren Ferebee Lauren Ferebee Other Works By Follow the previous development of Lauren's 2016 Artist in Residence project by reading her second , third and final post. Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . I am extremely thankful for the great opportunity to be a part of the Spark & Echo Arts 2015 Artist in Residence program. I was approached by John and Emily after completing and exhibiting my film ‘When I Walk,’ which looks at my diagnosis with multiple sclerosis and the seven years after. The film goes through and explores the life cycles and challenges that I’ve had over the past seven years. Now, two years later, I am proposing a new project called ‘When We Walk.’ Find the complete progression of the work linked below. Romans 12:2 Artist in Residence 2015: Jason DaSilva Part 1 By Jason DaSilva Credits: Curated by: Spark & Echo Arts, Artist in Residence 2015 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link I am extremely thankful for the great opportunity to be a part of the Spark & Echo Arts 2015 Artist in Residence program. I was approached by John and Emily after completing and exhibiting my film ‘When I Walk,’ which looks at my diagnosis with multiple sclerosis and the seven years after. The film goes through and explores the life cycles and challenges that I’ve had over the past seven years. Now, two years later, I am proposing a new project called ‘When We Walk.’ It is almost as a follow-up to ‘When I Walk,’ but explores two significant differences. The first thing it looks at is my new relationship with being a father. A couple of years ago, my wife Alice and I had a boy named Jase. The film goes through and looks at my own mental changes and potential doubts of how I could be a father. The second aspect of the film looks at society and how accessibility is something that is critical to the participation of people with severe disabilities like myself. After ‘When I Walk’ was finished, my multiple sclerosis did not stop. It continued on and to this day, I am surprised at the new challenges that I have on a day-to-day basis. After the film finished, I continued not being able to walk and, more recently, I have lost use of much of my upper body and have slowly decreasing vision. These were not things that I expected with MS. ‘When We Walk’ will look at the intersection of these new aspects of my life and will reflect on my place in society today and how people with severe disabilities function in the world. The passage that I chose reflects the themes of the film. It is from the New Testament and still holds very relevant to my current life and to the stories and principles I’d like to pass on to others and Jase as he grows up — Romans 12:2: “Do not be conformed to this world, but be transformed by the renewal of your mind, that by testing you may discern what is the will of God, what is good and acceptable and perfect.” I’ve been shooting the film for two to three years now. I know this sounds like a lot, but in my films this is actually not that long. My films use a technique developed by early cinema called “cinema verite.” Other examples of cinema verite are the Maysles Brothers (‘Gray Gardens’) and more recently Laura Poitras (‘Citizen Four’). During the Fellowship, I will be working on this film and building the story structure, which I have not yet had the chance to do as I’ve been filming every aspect of my life with and without Jase! I thank Spark and Echo Arts again for this opportunity and I look forward to giving more updates in the future as the film progresses. For now, I’ve put up a simple website at www.whenwewalk.com and of course, please do follow the film on its Facebook page ( https://www.facebook.com/whenwewalkfilm ). Trailer for When I Walk Spark Notes The Artist's Reflection Jason DaSilva has been a prolific filmmaker for the past 10 years. He has directed four short films (OLIVIA’S PUZZLE, A SONG FOR DANIEL, TWINS OF MANKALA, and FIRST STEPS) and two feature-length documentary films (LEST WE FORGET and WHEN I WALK). Many of his films have won awards; OLIVIA’S PUZZLE premiered at the 2003 Sundance Festival and qualified for an Academy Award. Three of his films have had national broadcasts on PBS, HBO, and CBC. He also produced Shocking and Awful, a film installation on the anti-Iraq war movement, exhibited at the 2006 Whitney Biennial. Each one of these works advanced Jason’s objective to give voice to those on the periphery of society. In 2006 Jason took a short break from filmmaking to earn his MFA in Applied Media Arts from Emily Carr University. He recently produced and directed an Op-Doc (opinion documentary) for the New York Times called ‘The Long Wait,’ published in January 2013. DaSilva’s latest film, WHEN I WALK, was an Official Selection of the 2013 Sundance Film Festival and won Best Canadian Feature at HotDocs 2013. Following the film’s theatrical release this fall, it will air on POV on PBS in 2014. He currently lives and works in Brooklyn, New York. Interested in learning more about Jason’s creative process? Visit his website at: http://wheniwalk.com/ Website Jason DaSilva About the Artist Artist in Residence 2015: Jason DaSilva Part 3 Artist in Residence 2015: Jason DaSilva Part 2 Artist in Residence 2015: Jason DaSilva Jason DaSilva Other Works By To follow the development of his project as a 2015 Artist in Residence, read his second and third posts. Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Ayakoyoshida The Earth Is Round No Matter What Happens Copy Loading Video . . . Textile artist Ayako Yoshida incorporates the visual aesthetic of Kabuki theatre and responds to the events of March 11, 2011 in her work's reflection on Psalm 46:2-3. Psalms 46:2-3 [the earth is round no matter what happens] By Ayako Yoshida Credits: Curated by: Rachel Carvosso 2015 Textiles Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Through discussion with the curator I chose this bible verse because it is about protection in the middle of great disaster. On March 11th 2011 Japan experienced a huge tsunami and earthquake; so this is an important theme for us. How can we be safe even if the world is breaking? The center of the image is the world, and it can also be viewed as a hat. I chose to use hat as a motif because, for me, the image of a hat evokes childhood memories of being protected from elements that can become harmful – for example sunlight or strong rain/wind. In Japan teachers train children to wear a hat to protect our heads when an earthquake occurs, so we are familiar with the hats. Japan is also known as the Land of the Rising sun, everyday we see the sun sinking to the other side of the sea. It is a rhythm and is something reliable – in the bible verse even if the physical world disappears there is something that remains. Spark Notes The Artist's Reflection Ayako Yoshida graduated from Tama Art University in 2012. As an emerging textile designer she has exhibited in a group show, Shinchou Art; was selected for the Aomori Triennale Print Prize in 2014; and is currently working as a textile maker. “My textile work/designs are inspired by the color of the Japanese Kabuki Theater, Ukiyoe prints and European Paintings and space. I make surface design and create two dimensional patterns/hangings that allow the viewer to see the space as if looking through a window. I want viewers to enjoy looking ‘into’ the work as if they are looking at another world.” 主なテーマは色彩と空間です。 世界にはたくさんの色があります。 日本の伝統的な歌舞伎や浮世絵に使われている色を見て作品を作ったり、 西洋のたくさんの画家の描いた絵からインスパイアされることもあります。 パターンを繰り返すことによって空間が現れます。 一枚の布を壁にかけた時にその布がまるで窓のようになる。 私たちは窓の向こう側を見ているような気分になる。 別世界をのぞいているような楽しい気分になるようデザインしています Website Ayako Yoshida About the Artist Ayako Yoshida Other Works By The first artist of the 2015 season, Ms. Yoshida is also the first artist of a three-part series featuring artists from Japan, selected by curator Rachel Carvosso. VIEW THE SECOND AND THIRD WORKS IN THIS SERIES: PARADISE BY SHINO YANAI AND HOPE BY SATSUKI ICHIKAWA. Ms. Carvosso also shares some thoughts on her process as a curator below: From the Curator: I have been intrigued and inspired by the illuminated manuscript concept of Spark+Echo Arts. Having lived in Japan for 10 years, I wanted to invite Japanese creatives into the process. With little general cultural saturation of biblical background and imagery I decided to connect to a more general relevant theme of finding hope within the brokenness. Japan was hugely affected by the events of March 11th. Fukushima and Tohoku in particular continue to be places where recovery in ongoing. How do artists respond in the aftermath and what does the Bible have to say about disaster, fear, suffering and hope? All three artists have considered their identity as “Japanese” artists post March 11th in addition to how the Bible could relate to God`s bridging of the gap created by brokenness and sin: what should be questioned and how hope can be found even in the middle of the most painful and confusing circumstances. Personally, each of the works in this series remind me of the Japanese tradition of Kintsukuroi (Kintsugi). In Kintsukuroi, broken pottery — rather than being discarded — is delicately restored, the cracks filled in with gold resulting in what was/is broken becoming more beautiful than before. I find that Japanese artists responding to the Bible through the prism of the disaster have significantly beautiful and important insights to share. Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . Is this the world's first pop song from the book of Deuteronomy? We aren't sure. Either way, we hope this starts a trend of hit music from this substantial book. It's a good way to let the words sink in to your heart, and that's what Moses is talking about, yes? Deuteronomy 32:45-47 Take to Heart By The Spark & Echo Band Credits: Written by Jonathon Roberts Performed by Jonathon Roberts (piano, vocals), Emily Clare Zempel (ukulele, vocals, bells), Mason Neely (drums), Jay Foote (bass) Mixed by Alex Foote Mastered by Matt Shane (Masterdisk) Artist Location: New York City Curated by: Spark+Echo Arts 2010 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Is this the world's first pop song from the book of Deuteronomy? We aren't sure. Either way, we hope this starts a trend of hit music from this substantial book. It's a good way to let the words sink in to your heart, and that's what Moses is talking about, yes? Spark Notes The Artist's Reflection The Spark & Echo Band is a family outfit of songwriting-storytellers led by husband and wife duo Jonathon Roberts and Emily Clare Zempel. Their music brings forgotten poetry and wild stories from the Bible to life: visions of sparkling wheels in the sky, hunger and thirst, and legends of love as strong as death weave with memorable melodies and captivating rhythms. Drawing from a classical background, influenced by the pianism of Rufus Wainwright and Ben Folds, and emulating Paul Simon’s narratival techniques, Spark & Echo sings epic tales of love and adventure. The duo has collaborated on three full lengths albums (Spark&Echo, Inheritance, Cities Project), one video album (In the Clocktower), in addition to many theatrical collaborations, this very nonprofit, and two children. They live in beautiful Beacon, New York, with all of the above. Website The Spark & Echo Band About the Artist White Robe What a Day Deep Calls to Deep Yo Sé Do You Love Me? Where Can I Go? How to Be Free Flesh Lifeblood Artist in Residence 2015: Spark & Echo Band The Wheels Frogs Ruined Inheritance The Spark & Echo Band Other Works By Take to Heart Chorus: Take to Heart All these words I have solemnly declared Take to Heart All these words I have given you today Verse: So that you may command your children To obey all the words of the Law. (Chorus) They are not just idle words for you They are your life By them you will live long In the land, you’re crossing the river to hold They’re not just idle words They are your life (Chorus) Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Nicora Gangi Psalm 17 Loading Video . . . In this rich and personal work, artist Nicora Gangi reflects on David's prayers to God for continuous preservation from his enemies in Psalms 17:6-12. Psalms 17:6-12 The Everlasting Protective Love of God Our Father By Nicora Gangi Credits: Curated by: Rebecca Testrake 2022 11 x 14 inches Paper collage + Digital layering Mixed Media Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Psalm 17:6-12 comes from the prayer of David to God to preserve his life from his enemies. My interpretation of this passage was heavily influenced by Matthew Henry's Commentary . When using this imagery, David may be thinking back to the wings of the cherubim shadowing the mercy seat which was placed on top of the arch of God in the tabernacle, the place of worship for the People of God ( Exodus 25:30 ). As Matthew Henry wrote , is it as if David is praying: "Hide me under the shadow of thy wings where I may be both safe and warm." This is not the only time we see the allusion to the wings of a bird and God's protection and care. Jesus Christ alludes to this same winged metaphor of protection when He speaks of his loving desire to draw the children of Jerusalem to himself "as a hen gathers her chicks under her wings" ( Matthew 23:37 ). Therefore let us put our trust in God, for He protects us continually under the wings of His mercy. And the Father of mercies will convey us to His heavenly kingdom in a timely season. Spark Notes The Artist's Reflection Nicora Gangi was educated at Syracuse University, Syracuse, New York, USA (BFA 1974 and MFA 1976). She was a Professor of Art at Syracuse University for 29 years. Gangi has been awarded many Grand Prize and First Place awards and grants. She has been and continues to be published in numerous artist’s books on pastel paintings. She has lectured regionally and nationally as a visiting artist at universities and artist’s guilds. She is represented by: Edgewood Gallery (Syracuse, NY), and Gangi Studio (Winter Garden, FL ). Website Nicora Gangi About the Artist The Mountain of the House of The Lord I See Him but Not Now So Shall Your Descendants Be This One The Body without the Spirit | 1 The Body without the Spirit | 2 The Body without the Spirit | 3 The Sealed Ones Peace with God When the Lord Gives Us The Land I See Him but Not Now The Mountain of the House of The Lord Paneled and Ruins Series The Harvest Spirit of God-The Spirit Hovering Memories Lies Fool Dance Your Truth from the Great Congregation Psalm 18 Sound of Their Wings Psalm 16 Kiss the Son EAST, WEST, NORTH & SOUTH AT HIS TABLE Nicora Gangi Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Daughter Rachel Friedlander Loading Video . . . This triptych by photographer Rachel Friedlander responds to Mark 5:25-34 and the theme of "Joy." Mark 5:25-34 Daughter By Rachel Friedlander Credits: Curated by: Ebitenyefa Baralaye 2012 6 x 12 inches Photography, Digital Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link The passage of the bleeding woman in the gospel of Mark has always had an affect on me. For some inexplicable reason, this story has left me with goosebumps on my arms and tears in my eyes nearly every time I've poured over its verses. There's just something about it. It's a juxtaposition of such power and such gentleness. When this story is told, many simply assume that the woman reached for the hem of Jesus' cloak. But the word hem is the actually the word for "fringes," referring to the tzitzit, or tassels, of Jesus' prayer shawl. This woman, who was completely ostracized and secluded by society, reached out expectantly to the holy, symbolic garment of the Messiah. And she was instantaneously healed, both physically and emotionally. In this triptych, the story is told in a modern light from the viewpoint of the bleeding woman. It follows her undoubtedly potent emotional arc, culminating in wholehearted joy and completion. Spark Notes The Artist's Reflection Rachel Friedlander is a photographer, writer, designer, fashion lover, and avid fan of art in it’s many forms. Her life was filled with film cameras, typewriters, paints, record players, and encouragement from an early age. Every day since has been an adventure in developing her skills and finding ways to glorify her Creator through them. Through her lens, Rachel endeavors to capture that moment one savors in their subconscious—that emotional pinnacle an observer replays in their mind: a grandmother mid-laugh, the delicacy of that girl’s eyelashes, a man with his arms out in the expanse of an open field. Life is a series of moments, and Rachel would like to live them all and preserve the best. She currently resides in New York City, where she owns her own photography business and works with Jews for Jesus, using creative mediums to reach fellow Jewish people with the truth about their Messiah. You can see more of her work at www.rachelfriedlander.com and stay updated by hitting “Like” at www.facebook.com/rachelfriedlanderphotography . Website Rachel Friedlander About the Artist Rachel Friedlander Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

collected-thoughts_chris-knight_featjpg.jpg Loading Video . . . I’ve always loved stories. As a kid, I carried books with me everywhere, reading in the car, disappearing under racks of clothes while my parents shopped. I lay on the floor in front of the TV for hours, re-watching my favorite movies on loop, soaking up mindless cartoons, watching another dumb sit-com with a book pressed close to my face. Stories were a way to meet new people, to break into their lives, to learn about the world I was still too young to experience. Find the complete progression of the work linked below. Ecclesiastes 1:8-13 Artist in Residence 2016: Chris Knight Part 1 By Chris Knight Credits: Curated by: Spark & Echo Arts, Artist in Residence 2016 2016 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link March 14, 2016 I’ve always loved stories. As a kid, I carried books with me everywhere, reading in the car, disappearing under racks of clothes while my parents shopped. I lay on the floor in front of the TV for hours, re-watching my favorite movies on loop, soaking up mindless cartoons, watching another dumb sit-com with a book pressed close to my face. Stories were a way to meet new people, to break into their lives, to learn about the world I was still too young to experience. As individuals, as a culture, stories are the tools we use to define ourselves. We remember our victories and our failures. The things we’ve done, the people we were with and the things that matter to us. They let us outsource our memories, preserving our experiences, our identities against our inevitable disappearance. Or at least, that’s what we hope. But the Preacher of Ecclesiastes reminds us not even our stories will last. They will all be forgotten. We will be forgotten. In the central line from the passage I’ve chosen, the Preacher writes, “There is no remembrance of former things; neither shall there be any remembrance of things that are to come with those that shall come after.” So then, who will to do the work of downloading us? Where do we go once we’re copied? And what if we change our minds? I’m still not sure where the story I’m writing is going. But I know that’s where it will start. Spark Notes The Artist's Reflection Chris Knight is a director and writer based in New York City. His short films and feature scripts have been selected for a variety of film festivals across the country. Website Chris Knight About the Artist Artist in Residence 2016: Chris Knight Part 2 Artist in Residence 2016: Chris Knight Part 3 Carried from Jericho Artist in Residence 2016: Chris Knight Chris Knight Other Works By Follow the developmental journey of Chris' project by reading his second , third and final post as a 2016 Artist in Residence. Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Nicora Gangi 2013 Air 2 Foolishness Loading Video . . . Nicora Gangi deals with the theme of "Fools" and responds to Ecclesiastes 5:7 in her second work created for a collection inspired by each of the six themes for the year as a 2013 Artist in Residence. Ecclesiastes 5:7 Fool By Nicora Gangi Credits: Curated by: Spark+Echo Arts, 2013 Artist in Residence 2013 14 x 20 inches Paper Collage on Strathmore paper & Adobe Photoshop Mixed Media Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Many of old pretended to know the mind of God by dreams and were so full of them that they almost made God's people forget his name by their dreams. Many now perplex themselves with their frightful or odd dreams or with other people's dreams heralding this or other disaster. Those that heed dreams shall have a multitude of them to fill their heads with, but in them there is nothing but foolishness - just as there is in many words. They are like the idle ill-mannered chat of children and fools, therefore don't pay any attention to them. Fear God and Him alone. Have an eye to His sovereign dominion. Set Him before you. Keep yourself in His love and be afraid of offending Him and you will not be disturbed by foolish dreams. The way not to be dismayed at the signs of heaven nor afraid of pagan idols is to fear God as King of Nations. (Jeremiah 10:2, 5, 7) Spark Notes The Artist's Reflection Nicora Gangi was educated at Syracuse University, Syracuse, New York, USA (BFA 1974 and MFA 1976). She was a Professor of Art at Syracuse University for 29 years. Gangi has been awarded many Grand Prize and First Place awards and grants. She has been and continues to be published in numerous artist’s books on pastel paintings. She has lectured regionally and nationally as a visiting artist at universities and artist’s guilds. She is represented by: Edgewood Gallery (Syracuse, NY), and Gangi Studio (Winter Garden, FL ). Website Nicora Gangi About the Artist The Mountain of the House of The Lord I See Him but Not Now So Shall Your Descendants Be This One The Body without the Spirit | 1 The Body without the Spirit | 2 The Body without the Spirit | 3 The Sealed Ones Peace with God The Everlasting Protective Love of God Our Father When the Lord Gives Us The Land I See Him but Not Now The Mountain of the House of The Lord Paneled and Ruins Series The Harvest Spirit of God-The Spirit Hovering Memories Lies Dance Your Truth from the Great Congregation Psalm 18 Sound of Their Wings Psalm 16 Kiss the Son EAST, WEST, NORTH & SOUTH AT HIS TABLE Nicora Gangi Other Works By Visual artist Nicora Gangi created a collection of mixed media works in response to scripture and the six themes of the year as a 2013 Artist in Residence. Explore her works created throughout the year: Spirit of God – The Spirit Hovering Light and Darkness (February 4, 2013) Fool (This piece) Fools (April 13, 2013) Dance Dancing (June 13, 2013) Lies Lies (August 22, 2013) The Harvest Harvest (October 17, 2013) Memories Memory (December 12, 2013) Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . "Trees of the Field" is an original song written and performed by Wendell Kimbrough in response to 1 Corinthians 3:12-15 and Isaiah 55. We are pleased to share this song along with an image of the painting "The Patient" by Lauren Shea Little, painted in reaction to Kimbrough's song. 1 Corinthians 3:12-15 Isaiah 55:1–6 Trees of the Field By Wendell Kimbrough Credits: Music by Wendell Kimbrough; Painting by Lauren Shea Little; Artist Location: Southern Alabama Curated by: 2011 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link "Trees of the Field" is a reflection on the value of work in a broken world. Does our work matter? For all the time, toil, and frustration we put in, will our work ultimately be of any value? The song wrestles with these questions in light of 1 Corinthians 3 and Isaiah 55. It sees the Corinthians passage as posing a question to which Isaiah 55 suggests answers. Spark Notes The Artist's Reflection Wendell Kimbrough is a songwriter and worship leader in southern Alabama who believes church music should simply be good music that forms us as we sing it together. Drawing on the sounds of American folk and soul music, Wendell writes scripturally-rich songs with singable, memorable melodies. His music has been embraced by a growing number of churches, young and old, large groups and small, contemporary praise bands and traditional choirs. “There is nothing better than experiencing intimacy with God in the midst of a room where your friends and family are gathered together, experiencing a similar thing. This is why I lead worship; this is why I write songs.” —wk Website Wendell Kimbrough About the Artist Wendell Kimbrough Other Works By “The Patient” by Lauren Shea Little, painted in reaction to Kimbrough’s song. Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . Stephanie Miracle's performance in "Treasure Heart" responds to the theme of "Memory" from Luke 2:19. Luke 2:19 Treasure Heart By Stephanie Miracle Credits: Curated by: Elizabeth Dishman 2013 Dance Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Luke 2:19 is a mysterious passage to me. It is oddly placed in the middle of a narrative: it is the middle of the night, angels are singing, Christ has just been born and the shepherds have come to worship the newborn Savior. And then, in the middle of the scene, Luke interrupts the account to give us a tiny window into Mary’s heart. A small pause and then the story of the shepherds continues. I chose the German translation of the verse because it highlights movement rather than static meditation or contemplation. I imagine a mix of uncertainty and awe tumbling inside of Mary. And I imagine that the tumbling continues well beyond that moment but continues to return throughout her whole life; kind of like a motion sickness that is more wonderful than awful. Unlike the shepherds who tell the town of all they have seen and heard Mary does not seem to have really any clear or concrete words just an incommunicable sense of … How do you deal with something so ineffable? Like the memory of a home you have never actually lived in… like the scent of the sweetest flower in a recurring dream… like the melody of a secret song you know by heart but can’t remember the words to…. like the feeling of being weightless though your feet are still resting on the ground…. Spark Notes The Artist's Reflection Stephanie Miracle is an American born independent choreographer and performer currently based in Essen, Germany with her husband visual artist Jimmy Miracle. She earned her MFA in Dance at the University of Maryland and a BA in Dance from Belhaven University. She is also a teacher of Klein Technique™ and holds prestigious honor of being a 2014/15 German Fulbright Fellow in the Performing Arts. In 2015 she joined as a full-time dancer with the Folkwang Tanzstudio/FTS. In addition to performing with the company she often works in collaboration with Henrietta Horn (DE), Carla Jordao (PT), Ana Farfan (MX), Paola Ponti, (IT) and Anna Shchkleina (RU). She is the director of Fakers Club, a site-specific performance experiment based on film and serial television. Stephanie's choreography has been described as “iconic and nuanced…with an irreverence that makes you smile unconsciously”(Rick Westerkamp, 2014). Often in vivid technicolor, Miracle’s works are crafted with a cinematic sensibility and follow subtle narrative threads. In addition to creating choreographies for traditional proscenium theaters her unique aesthetic finds special significance in common spaces for example, parking lots, bus stops, woman's prisons, hallways, staircases, and rooftops. in Germany, Hungary, Mexico, Russia, New York City, and Washington DC by various institutions including MetLife Foundation, Exchange Festival, Dance Place, Supernoval Festival, Open Look Festival, Performatica, Belhaven University, ES WIRD SOGAR SCHÖN, Barnes Crossing, The Clarice Smith Performing Arts Center. Other awards include the Smith Scholarship Grant to attend ImPulsTanz in 2012, dance artist-in-residence at OMI International Residency 2012, DC Innovation grant in 2013, Bates Dance Festival Merit Scholarship 2013, Goldhaber Travel Scholarship 2014, and NextNOW new work grant 2014. Her collaborative piece “Drafting Plan” was awarded Best Duo at Barnes Crossing Festival 2015 in Cologne and at the 2016 SzoloDuo Festival in Budapest. She is honored to be a 2016 Artist in Residence at Spark and Echo Arts. Website Stephanie Miracle About the Artist Artist in Residence 2016: Stephanie Miracle Part 1 Artist in Residence 2016: Stephanie Miracle Part 2 Artist in Residence 2016: Stephanie Miracle Part 3 Artist in Residence 2016: Stephanie Miracle Stephanie Miracle Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . Poet Philip Metres created this meditation on suffering, pain, and release in response to the theme of healing and Matthew 8:5-13. Matthew 8:5-13 For the Prison of Skin (A Prayer Triptych) By Philip Metres Credits: Artist Location: Cleveland, Ohio Curated by: Hayan Charara 2014 Poetry Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link For nearly all of 2010, after a muscle tear, I was flung into the hell of chronic pain. The months of pain felt like a divinely-inspired torment, and I could not understand why it was happening to me. Everything I thought I knew about myself, my body, and life was cast into the fires of that suffering. At the time, I read somewhere that mathematics of suffering could be described as pain, times our psychic resistance to this pain. My resistance to that pain was Job’s: Why do I deserve this? Why has God done this to me? What is the meaning of this meaningless abyss? After having written many poems about the War on Terror for the book Sand Opera, I wondered if somehow I had taken inside myself the suffering to which I was mere witness; it was if that now I could no longer separate myself from the physical and psychic torments of the abused at Abu Ghraib or in black sites. The usual suspects of Western medicine could not help me. I turned to prayer, to meditation, to acupuncture, to physical therapy, to acupuncture, to spiritual direction. I owe my healing to many people—my wife Amy, my kids, my parents, Doctor Lui, Father Don Cozzens—all of whom stroked or stoked me back to me. The poem “For the Prison of Skin” (an early version of which was published in Poems of Devotion) draws on that particular personal odyssey/theodicy, and also reflects on Matthew’s story of the centurion, a soldier of empire, who asks Jesus to heal his servant; he knows he is unworthy of hosting Jesus, but he believes and is healed. Spark Notes The Artist's Reflection Philip Metres is the author and translator of a number of books and chapbooks, including Sand Opera (2015), A Concordance of Leaves(2013) , abu ghraib arias (2011), and To See the Earth (2008). His work has garnered two NEA fellowships, the Watson Fellowship, five Ohio Arts Council Grants, the Beatrice Hawley Award, two Arab American Book Awards, and the Cleveland Arts Prize. In 2014, he received a Creative Workforce Fellowship, thanks to the Community Partnership for Arts and Culture, residents of Cuyahoga County, and Cuyahoga Arts & Culture. He is professor of English at John Carroll University in Cleveland. Website Philip Metres About the Artist Philip Metres Other Works By Related Information View More Art Make More Art You threw me down, Lord, on the bed I did not know I was making, unmade. View Full Written Work For the Prison of Skin (A Prayer Triptych) 1. You threw me down, Lord, on the bed I did not know I was making, unmade. Your arms held me down until I could feel the panic of prey, could taste the bitter of ends, the tunnel stripped of light, Lord, you pressed your terrible weight against the length of my indivisible body, your invisible inexorable weight, your hands around my neck until I could see nothing but the black in front of me, your hurting whole behind me, in me now shivering, praying for this prison of skin to release this voice to air, that these needle nerves unshackle the this I am, the this you are. 2. Lord, I am not worthy, I am unweal- thy without you, but I am not unwilled, am not still in you. Yes, my soul is rest- less and does not rest in you, my Lord, and I’m not ready to be seized by you in receiving you. Unsteady in swells of you, I’m unmasted in the squall of you in the sea of you, cannot outlast you. But only say the word and I shall be hurled from all hurt, thrown beyond shoals, unswal- lowed in shallows. Say the word and I shall be held, will the world and I shall be born, say it and I shall be beheld and hold you, my Lord, say it with my mouth, I’m yours. 3. Lord, in the fracture of the bleakest black, under this roof, in the dying dark, let me turn and slide my aching hips up to the back of this day, curl my arm beneath the still-dreaming side of this day, Lord, let me cup the soft breast of this day, tender as the tender child who opened its door with loving suck, let me bury my face in the fragrant scalp of this day, then turn this day toward me, open my eyes to eyes now leading everything to light, and stroke the dream- flung hair that frames the lovely face of this day that breaks into waking. Close Loading Video . . . You threw me down, Lord, on the bed I did not know I was making, unmade. Download Full Written Work

Loading Video . . . Multi-talented artist Janielle Kastner explores the similarities between us and those whom we would distance ourselves from in this vulnerable and raw poem based on Jude 1:5-7. Jude 1:5-7 To watch is to watch is to watch By Janielle Kastner Credits: Curated by: Lauren Ferebee 2017 Poetry Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link I have a long-standing (and complicated) personal and literary relationship with the Bible. Ever since I was a child, I have wrestled with my place in this giant story. As a little girl, I would skip to any book with a female title, asking my mom to read and re-read Esther and Ruth. (Perhaps this practice is the origin of my decidedly feminist approach to storytelling and female representation.) I often found myself most concerned with the wrong protagonists, taking a side entrance into important Biblical moments. (But what exactly is the backstory on “Potiphar’s wife”? Why do the Egyptians’ horses have to die in the Red Sea too, what did they do wrong?) Oftentimes the Bible was used in damaging, distorted ways, but in its purest essence the Bible was a launching pad for my writing and theatrical career. These pages were my very first exposure to long-form poetry, to lyrical expression, to the precise way words can explode onto a crowd when spoken with intention from a stage. Jude 1:5-7 is not one of those passages teeming with metaphor and beauty. When commissioned for this piece, I felt myself on the outside of these words. And then I found myself ten years old again, not relating to the writer or the recipients of Jude’s epistle, but instead fascinated by the point-of-view of the cautionary tale: the ambitious fallen angels who “he [God] has kept in eternal chains under gloomy darkness until the judgement of the great day”. Never had it occurred to me these angels might be shackled in hell, as prisoners beneath humanity, watching us from below. These creatures who knew what heaven was – what must they think of us humans who have never tasted holiness? What must it be like to watch us rebel and inflict pain and then ask for redemption, while as angels they were eternally banished for rebellion on the spot? And would angels have nuanced thoughts? They probably have a pretty direct communication style, right? What follows is a poem juxtaposing the fallen angels’ perspective on humanity with fragments of true stories transcribed from real humans who, like me, know what a complicated thing it is to regret. I asked for 30-second anonymous submissions, and transcribed every pause, stammer, and “um”. By asking people to describe a moment they treated someone as less than human, I suspected I might tap into unique tiny moments of spiritual captivity, not unlike the trapped angels themselves. I wondered how readily people would be able to pinpoint a moment they treated someone as less than human, if we innately feel that betrayal of dignity in our own bodies as well. The answers were sad and small and confusing and heart-breaking and lovely. To deny another’s humanity is to cast them in darkness, it is a momentary experience of hell on earth. This poem is intended as the opposite gesture, standing in the light together and fully acknowledging our shoddy hindsight, our too-late empathy, our messy, worthy humanity. Spark Notes The Artist's Reflection Janielle Kastner is a writer, performer, and producer based in Dallas, Texas. She was recently named “Best New Playwright” in Dallas Observer’s Best Of 2016, and her play OPHELIA UNDERWATER was selected as one of TheaterJones’ “Best New Play by Local Writers” . Other plays include FEED ME and HEAVEN’S GATES, HELL’S FLAMES. She is an inaugural member of the Dallas Playwrights’ Workshop at Dallas Theatre Center with Will Power, and her plays have been produced by WaterTower Theatre’s 24 Hour Play Festival, L.I.P. Service Theatre Company, The 1 Minute Play Festival, The Stella Adler Academy, and The Tribe, of which she was a founding member and recipient of Dallas Observer’s 2016 “Mastermind Award” . Additionally, she co-runs Dallas cult classic Shakespeare in the Bar, and has performed with Second Thought Theatre, Kitchen Dog Theater, Amphibian Stage Productions, The In-Laws, Theatre Three, Cara Mia Theatre, and Shakespeare Dallas. She holds bachelor’s degrees in Theatre and English from Southern Methodist University. More of her work can be found at janiellekastner.com . Website Janielle Kastner About the Artist Janielle Kastner Other Works By Related Information View More Art Make More Art From underneath it seems they do not have a choice They do not do what they mean to do Or they do exactly what they mean to do View Full Written Work Close Loading Video . . . From underneath it seems they do not have a choice They do not do what they mean to do Or they do exactly what they mean to do Download Full Written Work