veridical_claire-bateman.jpg Loading Video . . . The lush visuals of Claire Bateman's work hearken to the tangible abundance of God's mercy offered in Jude 1:2. Jude 1:2 Veridical By Claire Bateman Credits: Curated by: Jonathon Roberts 2017 Alcohol inks on three stacked layers of polyester film Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link May mercy, peace, and love be lavished on you. In my piece, "Veridical," I imagine this lavishing as a kind of botanical abundance, as expressed in Hildegard of Bingen's poetic statement, "The Word is living, being, spirit, all verdant greening, all creativity. This Word manifests itself in every creature." Spark Notes The Artist's Reflection Claire Bateman is the author of eight poetry collections, most recently, Scape with New Issues Poetry & Prose (Kalamazoo). Her other collections are The Bicycle Slow Race (Wesleyan University Press, 1991), Friction (Eighth Mountain Poetry Prize, 1998), At the Funeral of the Ether (Ninety-Six Press, 1998), Clumsy (New Issues Poetry & Prose, 2003), Leap (New Issues, 2005), Coronology (Etruscan Press, 2010), and Locals (Serving House Books, 2012). She has been awarded Individual Artist Fellowships from the National Endowment for the Arts, the Tennessee Arts Commission, and the Surdna Foundation, as well as the New Millennium Writing Award and two Pushcart Prizes, and has taught at Clemson University and various workshops and conferences. She lives in Greenville, SC, teaches at the Fine Arts Center, and is an advisory editor for Orison Press. More of her work can be found at clairebatemanwork.blogspot.com Website Claire Bateman About the Artist Hannah Claire Bateman Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . In this collaborative project, musician Peter Mawanga and visual artist Nicora Gangi teamed up to produce a multi-sensory response to John 16:33. Below are the lyrics and images from their project. John 16:33 Yimbira (Sing) By Peter Mawanga + Nicora Gangi Credits: Collaborating Artists: Peter Mawanga + Nicora Gangi Song Written + Composed by Peter Mawanga Nylon Guitar + Vocals by Peter Mawanga Electric Guitar by Faith Mussa Bass Guitar by Alfred Sitolo Nkhoma Trumpets by Kelly Dehnert Saxophone by Rick Deja Drums by Dryson Mwimba Visual Artwork by Nicora Gangi Curated by: Spark + Echo Arts 2020 6 x 9 inches Paper + Glue Collage Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Peter Mawanga This collaboration was an eye-opener for me as a musician, and I believe it can only be the works of the Holy Spirit. I believe that merging art and music means a new door has opened for my music ministry and another step taken towards the great commission. Nicora Gangi Collaborating with Peter Mawanga was like crossing the threshold of joy — the Spirit of Christ lifted us out of our flesh and placed us in the realm of making melody in our hearts, singing with abandoned exuberance to Him. “Sing to the Lord a new song!” ( Psalm 149 ). Process: By means of a concordance and commentary I studied the John 16:33 passage “so that in Me you may have peace.” I was lead by the Spirit through color and design to create a series of paper collages (pieces of colored paper cut from magazines and glued to a support). The colors and movements of this passage are ones based upon both activity and passivity. Jesus' statement, represented by colors of red, yellow, and orange) is active: It is what He will do for those who believe in Him. We are the passive recipients of this peace which we did nothing to deserve (represented by colors of blue, brown, green, and white). The will of Christ that His disciples should have peace within, whatever their troubles may be without informed my designs concepts of opposition, transition, and subordination. Spark Notes The Artist's Reflection Peter Mawanga has attracted worldwide acclaim with his music, Nyanja Vibes , performing on world stages in Africa, Europe and America. Not a stranger to the BBC and other media outlets, Mawanga has established himself as one of the living legends in Malawi and Africa. Blending traditional instruments as the Nyanja’s Nsansi (thumb piano), Visekese (shakers), Valimba (xylophone), and Kaligo (a single-stringed instrument), with contemporary instruments, he produces music that is fondly described by many as therapeutic and spiritual, drawing from the Nyanja’s core values of love, peace and calm. 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 including the Pollock-Krasner Foundation Award. She has been and continues to be published in numerous artist books on pastel paintings. She has lectured regionally and nationally as a visiting artist at universities and artist’s guilds. She is represented by: MME Fine Art (New York, NY), Bender Gallery (Asheville, NC), and LM Gallery (Saratoga, WY). To view more of her work visit www.nicoragangi.com . Website Peter Mawanga + Nicora Gangi About the Artist Peter Mawanga + Nicora Gangi Other Works By Lyrics Lekani kubvutika ndi zinthu zapadziko (Do not be troubled by the affairs of this world) Musekerere kuti tiziyimbira Yesu (Rejoice in the worship of Jesus Christ) Chorus Timuyimbire Yesu Mpulumutsi wathu (Sing for Christ our redeemer) Musaziunjikire chuma chapadziko (Do not focus on the accumulation of riches) Poti dzimbiri ndi njenjete zimachiononga (In due time riches will be lost) Image Stills STILL 1 FROM YIMBIRA STILL 2 FROM YIMBIRA STILL 3 FROM YIMBIRA STILL 4 FROM YIMBIRA STILL 5 FROM YIMBIRA STILL 6 FROM YIMBIRA STILL 7 FROM YIMBIRA Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . As the fourth work in a collection also featuring the works of Vanessa Kay, Mary Jane Nealon and Alan Heathcock, curated by Shann Ray; this short story by Shann Ray explores the theme of "Light and Darkness" from the perspective of Isaiah 61:3. Isaiah 61:3 Fourteen Types of Hunger By Shann Ray Credits: Curated by: Shann Ray 2013 Short Story Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link In this story I’ve tried to speak to the inner life that accompanies both desolation and consolation. The overwhelming fact that all people experience pain and joy, and that sometimes we have no idea of the great sorrow the person next to us carries, is one of the central inspirations for the art that informs my experience of our shared humanity. In my own inner life “the garment of praise instead of the spirit of despair” is both a leap of faith in this world of violence, and a deep and enduring hope in the intimacy that exists here and now. When we love others and we are loved, I believe we are given the grace to see the Divine in them and in ourselves. Spark Notes The Artist's Reflection Shann Ray ’s collection of stories American Masculine (Graywolf Press), named by Esquire as one of Three Books Every Man Should Read and selected by Kirkus Reviews as a Best Book of the Year, won the Bakeless Prize, the High Plains Book Award, and the American Book Award. Sherman Alexie called it “tough, poetic, and beautiful” and Dave Eggers said Ray’s work is “lyrical, prophetic, and brutal, yet ultimately hopeful.” Shann’s creative nonfiction book of leadership and political theory Forgiveness and Power in the Age of Atrocity (Rowman &Littlefield) explores the nature of categorical human transgressions and engages the question of ultimate forgiveness in the context of ultimate violence. His book of poems, Balefire, is forthcoming with Lost Horse Press. Shann lives with his wife and three daughters in Spokane, Washington where he teaches leadership and forgiveness studies at Gonzaga University. Website Shann Ray About the Artist Isaiah 61:3 Collection Shann Ray Other Works By As the fourth work in a collection also featuring the works of Vanessa Kay , Mary Jane Nealon and Alan Heathcock , curated by Shann Ray; this short story by Shann Ray explores the theme of “Light and Darkness” from the perspective of Isaiah 61:3: and provide for those who grieve in Zion— to bestow on them a crown of beauty instead of ashes, the oil of joy instead of mourning, and a garment of praise instead of a spirit of despair. They will be called oaks of righteousness, a planting of the Lord for the display of his splendor. Related Information View More Art Make More Art THE HALLS are set with grey-white tile that shines a dull light, the walls built of hard red brick tall and straight. As the boy walks, the other students look at him funny. Everett Highwalker is a freshman in high school. View Full Written Work FOURTEEN TYPES OF HUNGER by Shann Ray 1 THE HALLS are set with grey-white tile that shines a dull light, the walls built of hard red brick tall and straight. As the boy walks, the other students look at him funny. Everett Highwalker is a freshman in high school. Shock of black hair. Slender, he holds his head down. He carries his basketball wherever he goes, places the ball under the chair during class, cups it like a loved one everywhere else. He is five feet seven inches tall and weighs just over one-hundred pounds. From sorrow over the loss of his father, he does not thrive but he gets taller, and as he does he works and the school seems to grow smaller as he grows larger. Sophomore. Junior. He studies, plays, puts time in the gym, runs, shoots, lifts weights, gains strength. He grows to six feet four inches tall, weighs one-hundred ninety-five pounds, and starts for one of the top teams in the state. A velocity breathes in him and he sees how the other athletes seem to look at him as they might a lion that paces and peers. He lives in Portland, Oregon where the mouth of the Columbia opens wide and wounds the body of the ocean. 2 HIS SENIOR year he walks more upright but still he keeps his head down. When teachers ask him about last night’s game he says how well his teammates played. When they ask him about his vertical, his jumper, his defense, how he won the game on a last second shot, he replies, “Still working. Gotta work hard.” “Where did you learn to work like that?” asks the Vice Principle who overhears the boy in the hall, and always loves to talk hoops. Sandy haired older man of slight build, he played shooting guard at Duquesne in the late 60s. The boy holds the ball in his hands, shuffles his feet. “My father,” the boy answers, and the VP says, “How about getting some lunch?” and the boy says, “Sure,” and they walk together to the cafeteria. They find a place near the far wall. The boy’s father was half-Cheyenne, and big. He loved basketball like he loved family. “He taught you what it takes to be great, didn’t he,” says the VP who looks the boy in the face. The boy stares back and says, “He did,” and puts his head down quickly and clenches his jaw to keep the tears out of his eyes. They sit at a table folded flat on benches attached by metal to the under works of the table frame. The boy cups the ball, turns it, rolls it, considers the curve and the channels, the leather, the feel of heat in his hands and despair and loss and love. 3 HIS FATHER had cupped his face and said, “When you shoot you focus on a target within a target. Got that? If your shot slips in and out, it’s always the eyes. Lock your eyes in and that won’t happen.” “Yes sir,” the boy said. “Got it.” “And I got you,” his father had replied pulling him hard to his chest and holding him tight. This, a month before his father’s death. He is gone, the boy thinks. And the thought eats at the edges of his mind and only stops when he is working on his game. Ball fake, drive left, pull up, nothing but net. Shot fake, drive right, pull up, bank off the glass. The movements and the rhythm provide a sense of calm. The VP knows the boy’s dad worked at the mill. Worked heavy machinery and died when the boom of a crane broke loose and crushed the man’s chest. A giant of a man, bold in the world. 4 THE VP reaches, touches the boy’s shoulder. “Your father could shoot the J,” he said, “and defend like no one else.” “Serious baller,” the boy says, and looks down. “A thing of beauty, watching him play,” says the VP as he holds his own follow through in the air and smiles. “Meet me for lunch again?” “Sure thing,” the boy replies. 5 THEY EAT lunch every Wednesday. They talk hoops, life, family. The boy gets offers from a few small colleges. He dreams Division 1 and decides he will walk on at the University of Oregon in the storied Pacific Athletic Conference, the PAC 12, where the Wizard of Westwood, John Wooden, guided UCLA to 10 national titles and four undefeated seasons. That summer, the VP invites him to travel on a tour team of all-stars from the Pacific Northwest, an international travel team to Great Britain, Scotland and the Isle of Man. The VP is the coach. The boy averages 37 a game. He feels unstoppable. The team goes 9 and 2 beating Wales, Liverpool and Manchester. They lose to the London Knights and the Torches of Edinburgh. In the US, at the D1 level, no one knows his name. He walks on at Oregon and makes the team. The coaches dog him. Run him. Yell at him. Curse him. Though he thinks he has no chance at earning playing time he works hard and sacrifices himself, and his hunger grows harder and his love for the game grows stronger. 6 HIS FRESHMAN year, he plays a total of 22 minutes in four games. He shoots 0 for 3, gathers 2 rebounds, fouls twice, and garners 1 steal. His sophomore year, three guys get injured. He weighs 210 pounds and gets 14 minutes per game, averages 4 points, 4.5 rebounds, and 1.3 steals. He takes care of the ball. The team improves and breaks .500. Midway through the season he sweeps in from the wing for a rebound in the half court offense. Untouched, the players seem to part before him and he plants, launches into the sky and catches an errant shot that has caromed wide off the rim. Everyone is far below him as he tip jams over two defenders, the force of the dunk like the barrel-swing of a sledge hammer. He lands off kilter in the middle of the pack and bounces to his feet as the crowd erupts and the sound is deafening and the air seems to compress and expand and roar. He looks at his hands, sees a red mark high on his wrist, like a blood wound from the rim, and his teammates mob him and holler and pound his chest. The team talks about the high wire smash for weeks. From this single event he gains the nickname: Tomahawk. The play is the first of many more to come. Twenty games in, the coaches tell him what a huge contribution he has made to the team and that they will scholarship him next year. After the season, the coaching staff confirms their promise. At home for the summer, he holds his head high and walks into the gym and tells his friends from high school. They give him 5 and hug him and laugh and look at him almost as if he is from another, brighter world. In the dark at night, he sits beside his father’s grave and tells him about the scholarship and weeps. “I miss you,” he says, “I need you,” and as he walks from the cemetery he remembers how the sorrow takes a long time going, and perhaps is never completely gone. In his dreams, his father walks with him. Everett has lunch with the VP and tells him about the scholarship too, and the VP slaps him on the back and looks him in the eyes and says, “Congratulations! You’ve worked hard for this. Keep working.” “I will,” he says, and before he leaves, he looks up at the VP and pauses. “I wouldn’t be where I am without you,” he says. The skin on the VP’s neck turns red. The man looks down at his feet and taps the boy on the shoulder a few times. “Count on me every home game,” he says. 7 MID-SUMMER before Everett returns to campus, an assistant coach calls. “Couldn’t give you the scholarship,” he says. “We have to take it back because we need it for other positions.” 8 “THAT’S NOT right,” the boy says softly. “You lied to me. You broke your promise.” “Happens,” the assistant retorts, “get over it.” The boy does, but a fire burns in the chambers of his heart, burns at the dishonesty of men, men unlike his father, unlike the VP. He burns and he works. He runs and jumps and increases in power. He weighs 220 pounds now and benches 260. His vertical tops 40 inches. He dribbles all over town, the ball an extension of his body, the jumper, the follow-through, the release, the backspin like a gift from his father, the net on fire, the sound of the swish roaring inside him like a blaze to consume the world. “He plays defense like an army of men,” his old teachers say. “He rebounds like a wrecking ball.” He knows what they say is true because when he defends he feels alive, alive for his father. And when he crashes the boards, the other players fall away from him like trees felled in a forest. He remembers when his father took him to the Beartooth Mountains and the boy shot his first bull elk on the pass north of Two Oceans Plateau, the animal huge and ominous in the early light, a rack of tines hung back from the head, the horns thick and pointed skyward even in death. He’d used his father’s Remington .243, the stock warm against his cheek, a deep breath blown smooth from his lungs as the report rang over the valley and the animal fell before the echo died. He held the legs as his father made the cut from neck to base and drew the skin away from the rib cage with clean swipes of the hunting knife so that the white inner lining shown in the half-light. His father pulled out the entrails, his arms drenched in blood to the elbows. He looked to the boy then and said, “My father’s people went hungry.” He shook his head. “Don’t forget that, son. Ever.” “I won’t, Papa,” he’d said, and he watched as his father boned out the animal, cutting through the joints with the bone saw, quartering the elk and removing the hooves. In the end his father caped it out, bagged the meat, tied the head and horns to his pack and the boy and his father walked the land in tandem as something angelic and ethereal, the horns above his father’s back heavy and arched like wings. 9 BEFORE SUMMER’S end the boy and the VP travel to Alaska to put on an assembly for a school in Seldovia where the VP’s good friend is the principal. Seldovia, a harbor on the edge of the ocean, a town of blue water in a bowl of forest and rock surrounded by small well-built homes, smoke adrift from tight round chimneys. Every kid in town shows, and their parents with them, and the box gym is filled to the rafters as the VP speaks to the kids about school, and leadership, and grades, and dreams. The boy comes to the microphone in a baggy sweat suit and clean white Nike Air’s and speaks about life. The kids are a mix of Indian and white, native, and northern, and the people who gave them breath fill his field of vision, mothers and fathers, and they are strong and good, he thinks, and he feels thankful for them, for his own family, for the VP, and for basketball. He tells the kids he believes in them, and he places his hand over his chest and tells them God resides in the strength of their fathers, in the joy of their mothers, and in the end he says, “Don’t stop dreaming your dreams.” He removes his sweats and walks onto the court in a white t-shirt and baggy silk shorts bordered green and gold. He lines up the kids under the basket on one end and the dunk show begins. He throws himself alley oop lob passes from half-court. He tosses the ball high and it bounces off the hardwood and lofts itself to a point far above the rim. He runs and flies and meets the ball in the sky. He rises up and hammers home one-handed tomahawks and two-handed shoulder blades, a flurry of reverses, windmills, and 360s. “Clap out the beat!” he says and the people clap in unison to a deep drum rhythm as he puts backspin on the ball and watches it return to him before he lofts another lob from half court, rounds the turn, launches, and soars on a sideways lean with his back to the rim. In mid-air he snatches the ball in his hands, touches it to his heels, and when he smashes it behind his head he hears a bang louder than a gunshot. A sound like a shout from the barrel of a cannon. The rim breaks free and the backboard shatters. He lands in a rain of glass, and everyone goes silent. Shards of glass fan at his feet, and out from him in an arc that reaches to the top of the key, and wider still and more dispersed passed the half court line. He sees the rim on the hardwood floor, displaced like the shed horn of an animal. He turns to the kids packed along the baseline, their eyes wide and mouths open. Finally, one of the kids stands and starts clapping, then the kid shouts and lifts his hands and the others stand then and applaud loudly and the whole gym gives an unforeseen but extended cheer as the kids gather around Everett. They touch his hands and his arms. They pick up pieces of shattered glass to take home. He shows them the bruises the rim has made on his wrists, and he smiles directly into their eyes. 10 IN SEPTEMBER he returns to the team. He gets 22 minutes a game his junior year. He weighs in at 225 and hauls rebounds like a freight train. He runs faster, jumps higher, and grows stronger. He gets time, goes after every loose ball, turns the momentum of the game. “He’s a beast,” the head coach whispers, secretly in awe, and the boy’s numbers ascend. The coaching staff again promises him a full ride. The team takes another step, battles for a top four position in the league and ends up third. They lose their first two games in the league tournament but win two games in the National Invitational Tournament, the NIT, losing to Seton Hall one game before the semis and Madison Square Garden. He meets with the coaches post season. “No scholarship,” they tell him again. He puts his head in his hands. The words pierce him like bullets; they circle his head like barbed wire. “We don’t have any scholarships left,” the head man says, “we gave the last one to the big man from Germany. You know how much we need a big man.” That weekend the young man goes home. Face flushed and heart pounding he tells the VP. They return together to meet with the coaches. 11 THE HEAD coach begins and his words are smooth but they sound brittle and foolish in the air. “We’ve been more than fair here,” he says but already the VP has had enough. The VP stands. “Shut your mouth,” he orders the coach, “I’ll do the talking here.” He slams his hands on the table and leans across the open span until they are eye to eye. “You are a liar,” he says, “and a two faced liar at that. This boy is like a son to me, and to the whole town he comes from. You need to treat him right.” The VP’s face is red, the tendons in his neck like taut wire. He turns and looks at Everett and his face softens and returns to itself. He draws himself back and sits down again. He stares at the coach. “You need to be a better man than this,” he says. “This is beneath you and your program. Treat him right. He’ll give his all for you.” The coach’s head is down now. He looks up into the face of the boy. The boy stares hard back and does not waver. “We will treat him right,” the coach says. 12 AND THE COACH treats the boy right. The boy signs a scholarship and enters his senior year ready. He is elected team captain. He starts every game, averages 11.6 points, 12.4 rebounds, and 2.1 steals. He is named conference Defensive Player of the year and the team advances to the championship game of the league tournament winning 92-87 in double overtime as the fans swarm the court and the players and coaches dance. The VP meets him near the center circle, and they embrace and cry together as the streamers rain down on their heads. After the nets are cut down, the team gathers in the locker room, where the head coach holds one of the nets out to Everett and says, “To our captain,” and he places it around his neck and the team shouts, and the point guard punches Everett’s chest and says “For playing die-hard ball,” and the first assistant yells out, “For leading us here!” Everett bows his head and the team bumps his shoulders and he embraces his teammates and they go all the way to March Madness where they ride a wave of momentum to the Sweet 16 before they are finally knocked off in Indianapolis by eventual champion North Carolina. 13 WHEN THE BOY returns home, he goes to the high school early and asks the VP to breakfast. The VP gladly accepts and they walk in the dark to a bright-windowed diner two blocks north. Midway through the meal the boy takes the net out of his backpack, reaches out his hands and places the net like a necklace over the older man’s head. “For all you’ve given me,” he says. “It was nothing,” the VP says, and his voice cracks, “and thank you.” 14 WHEN BREAKFAST is done they stand and the VP grips Everett’s arms. “Let’s go show your father,” he says, and in the dim light they go to the grave where the boy listens as the VP tells the story and thanks Everett’s father, and tells the father his strength runs like mighty horses in the boy. When they walk together from that place the ground is soft beneath their feet. Down a slight slope the grass rolls, deep green and glistening. A remnant of darkness still holds the land as they walk among granite forms uplifted from the earth, crosses over apexes of stone, marble angels whose arched wings and raised swords beckon dawn. In the distance the trunks of great trees pattern the land, their limbs reaching steadily upward, and when Everett Highwalker looks he finds the trees alive with light, the sun a bloom of fire in the sky. Close Loading Video . . . THE HALLS are set with grey-white tile that shines a dull light, the walls built of hard red brick tall and straight. As the boy walks, the other students look at him funny. Everett Highwalker is a freshman in high school. Download Full Written Work

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Frequently Asked How do I become a Spark+Echo Artist? We'll be re-opening our Artists Application soon. For today, jot your name on our waiting list . Our team of curators will look at your work samples and we will reach out if we would like to commission something new for the project. All works in our Bible Illumination project are created new for the project. We are a small team and this is a giant project; please forgive any delay in response. Do you go through the Bible in order? No. We focus on different books or themes each year and also follow the suggestions of our patrons as they “spark” verses. We want artists to choose topics and passages that are particularly interesting to them. When an artist creates work in response to a passage in the Bible, that passage has a special connection to them that can last through their life. How long will it take to illuminate the entire Bible? We started in 2010. Our vision is to have the Bible completely illuminated by 2030 – twenty years in total. Is the project only for visual art? We commission new works of visual art, music, poetry, dance, theatre, film and literature. This includes but isn’t limited to paintings, drawings, sculptures, jazz and instrumental music, art songs, poetry, spoken word, rap, hip-hop, performance art, video art, film, classical and contemporary dance, scripts, short stories, theatre in any style, soundscapes, recipes, and more. What does "Spark+Echo" mean? The Bible is the Spark that we Echo. Do artists get paid to create these works? Yes, artists receive a small honorarium. Artists also retain full rights to their work. Can I use art on this site for my church, project, etc? All work created for Spark+Echo Arts is copyrighted by the artist and featured in our project by a contract between Spark+Echo Arts and the artist. If you are interested in using the work for your purposes, please contact us and we can connect you with the artist for possible permission. Are these artworks for sale? Some works may be for sale directly from the artist. Contact us and we can connect you with the artist. I have a painting that I made in college about Noah's art. Can I submit it? We only commission new works made specifically for Spark+Echo Arts. If you are interested in being considered by our team of curators please apply . What are you going to do with the genealogies and numerical lists in the Bible? Artists started creating responses to some of these passages for our project in 2013. The world is full of all kinds of artists, many of whom would be excited by this special challenge. Every number in the Bible is important, is there for a reason, and is worthy of our thought and intrigue. Each name is a real person connected to God’s greater story. There is so much wrapped up in every word of the Bible that the potential for creative and theological response is limitless. Is this a "family-friendly" project? Yes and no. This is a massive project that will grow to thousands of works of art. Each work is different. Artists come from a range of backgrounds and we give them the freedom to respond honestly. Think of exploring this online gallery like attending a contemporary art museum. Going to the museum is a wonderful family activity; many works may feel “family-friendly” while other works you might avoid with your children. For parents, teachers, pastors and church leaders, as with any culture you consume, this means taking a discerning look at works from the project––and we do preface some works with a note about audience discretion. Keep in mind that a work you may not like may be the spark another person needs to discover the Bible for the first time. Do you censor works? Spark+Echo Arts is committed to commissioning a diverse community of artists and giving them the freedom to respond to the Bible honestly. Out of respect for the artists, our policy is to not censor the work created for the project except in rare circumstances. We do at times, out of respect for our audience, preface works with a note regarding audience discretion. Read more about this topic on our Curation Model page.

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About Spark+Echo Arts Spark+Echo Arts forms communities of artists who engage with and create in response to the Bible. Through a finely-tuned curation process , selected artists chose a passage, and respond freely and honestly. The process is slowly and steadily building a unique platform that elegantly weaves stunning and thoughtful art with Scripture. We believe that the Bible is relevant to all people in all places. We believe that all artists in all places are image bearers of God. We believe that artists have a pervasive impact in forming culture. We envision a world where: Artists are affirmed in their calling. Artists connect deeply to God and one another. Artists from diverse spiritual and cultural backgrounds work with each other. Artists provide new forms of engagement with scripture. Every verse of the Bible will be illuminated with art, music, theatre, poetry, dance, or film by Christian and non-Christian artists from every nation across the world. The Bible once again becomes a common subject of artistic conversation and creation. The Bible is given fresh life and meaning to a generation who engage and respond through visual and interpretive arts. Our Story The project was founded in 2010 in NYC by Jonathon Roberts and Emily Clare Zempel; artists who love the Bible and the process of creating art in response to it. They wanted to create a community platform where others could have these same kinds of transformative experiences. We feel that something special happens when you simply open the Word and creatively respond to it. So, the project continues that tradition: Give incredible artists a spark to respond to the Bible and trust that remarkable things will happen. Artists that create for Spark+Echo Arts come from a wide range of backgrounds. They are urban, rural, religious, secular, from diverse ethnic and cultural backgrounds, at different places in their careers; they create in every style and discipline imaginable, are deeply familiar with the Bible, or rarely open it. We believe that the Bible is ceaselessly relevant to any person, anywhere. With the help of our patrons and community, we curate phenomenal artists from all over the world, letting Scripture speak through them and their life experiences. Who's Involved Jonathon is a composer, sound designer, and arts leader. He co-founded Spark+Echo Arts with his wife Emily Clare Zempel in 2010 and shaped the project as its Executive Director for ten years. He has toured the country with a solo theatre piece about the Apostle Paul, played in a popular downtown NYC absurdist comedy band, created the family podcast, “ComposerDad vs. Bible”, and released four albums including the latest, Cities a song cycle personifying biblical cities. He and Emily live in the Hudson Valley, NY, with their two boys. Learn more at www.jonathonroberts.com Jonathon Roberts Founder, Board President Rebecca is an artist turned theologian. She has a background in theatre, creative writing, and painting. Favorite performance credits include Grace in Life Without Parole, Lydia in Pride and Prejudice, and Gay Wellington in You Can’t Take it With You. A graduate from Fuller Theological University, she received her Masters of Divinity with an emphasis in Worship, Theology and the Arts and was a recipient of the Brehm Scholarship. She is the founding member of her experimental band, Sound Quilt: a project which interpreted original poems into songs and then music videos. A Southern California native, she thoroughly enjoys visiting NYC. Rebecca Testrake Executive Director, Board Member Matthew is an artist and educator with an MFA in classical acting from George Washington University and an MA in speech communication from Miami University of Ohio. He has more than 20 years of experience as a collegiate educator, teaching a wide variety of courses in communication and theatre, and he continues to coach and mentor developing artists of all ages. Matthew is also the Founder of Lamp and Light Productions with a mission of combining multiple art forms to help people see, hear, and experience the Bible in unique ways. He is an award-winning actor, director, and playwright and has created multiple original performances that he tours nationally. His latest play, What I Didn’t Say, focuses on Parkinson’s Disease and how to strengthen the relationship between patients and medical professionals. Learn more at lampandlightproductions.com. Matthew Moore Relationship Manager, Board Member Whitney is pursuing her passion of being an activist for change in her community as a storyteller, innovative thinker, and aspiring women’s and family health advocate. Growing up in Savannah, Whitney learned leadership skills and innovative thinking as a Girl Scout. She recognized her love of storytelling and creativity through her exposure to museums and theaters. The passion for storytelling lead her to pursue a bachelor’s degree in Mass Communication with a specialization in Journalism at Savannah State University. As an undergraduate student, she wrote for SSU’s student newspaper, volunteered as the social media strategist for her local farmers market, and became the president of the Mass Communications Student Association. Whitney graduated from Savannah State University with her undergraduate degree in 2012 and moved to Peru, with her daughter, to teach English for two years. In 2015, Whitney moved back to Savannah to pursue a master’s in business administration. In the three years, she was pursuing her Masters, she became a member of the National Council of Negro Women and the president of SSU’s chapter of the Public Relations Student Society of America. In 2019, Whitney earned her MBA and in 2022 she earned her MPA. Whitney Keitt Secretary, Board Member Dr. Maria Fee is an artist and theologian exploring ideas of alienation and hospitality. Maria Fee Board Member Collapsible text is perfect for longer content like paragraphs and descriptions. It’s a great way to give people more information while keeping your layout clean. Link your text to anything, including an external website or a different page. You can set your text box to expand and collapse when people click, so they can read more or less info. Alexander Douglas Board Member Matt is a creative professional with nearly 30 years of experience in brand development and marketing asset development. He's operated Big Picture Studio inpendently since 2016. Prior, he served at American Bible Society for 7 years as Creative Director and then as Program Director for Arts & Media Bible Advocacy, leading innovative efforts to engage skeptics with Scripture. Matt Steinruck Board Member Curators Our current and past curators include: Davelyn Hill (Poetry) April Knighton (Visual Art) Matthew Moore (Theater) Michael Markham (Film + Theater) Peter Mawanga (Music) Darryl Ratcliff (Literature) Jonathon Roberts (Music) Emily SoRelle Adams (Dance) Janna Aliese (Visual Arts) Ebitenyefa Baralaye (Visual Arts) Aaron Beaumont (Multidisciplinary) Charis J Carmichael Braun (Visual Arts) Rachel Carvosso (Visual Arts) Chris Cragin-Day (Theatre) Marlanda Dekine “Sapient Soul” (Literature) Elizabeth Dishman (Dance) Laura Eve Engel (Literature) John Estes (Literature) Lauren Ferebee (Theatre) Sarah Gregory (Music) Emily Ruth Hazel (Literature) Laurel Justice (Visual Arts) Jeffrey Leiser (Film) Evelyn C. Lewis (Visual Arts) Evan Mazunik (Music) Shann Ray (Literature) Katie Reimer (Music) Kent Shaw (Literature) Carey Wallace (Literature) Emily Clare Zempel (Multi-disciplinary)

Our Curation Model Through over a decade of commissioning Biblical art in this unique way, we have developed some fine-tuned processes for seeking and evaluating this special kind of expression. While still "more of an art than a science," we are careful, thoughtful and prayerful about the experience we seek to curate both for our artists as well as for our Bible readers. In Brief: We respect the artist, the Bible, and the audience. We ask each artist to approach the task of responding to the Bible with an open mind, to focus on the passage itself, to treat the text and our audience with respect. Likewise, we respect each artist by giving them the freedom to respond in their voice and not censoring their work or process. Finally, we ask our audience and patrons to approach each response with an open mind, with that same kind of respect. Through this approach we will all experience the Bible in a new way: we’ll hear a verse come to life in ways we never imagined, watch world-class artists wrestle with Scripture in powerful ways… thousands of times over. In More Detail: The primary guidance we developed is the three pillars of Respect: for the artist, the word, and the audience. Deeply inherent here is the support for the artist to learn more about the scripture. We work with them to ensure theological integrity, consulting pastoral insight and other academic resources. We also stress to the audience and artist that if they read a verse for the first time and it viscerally comes alive to them and they want to create in that moment, that is a totally valid way to create and also has deep theological and artistic relevance. This is something that makes this project unique. By communicating that culture and approach, we also communicate to both artist and audience that God’s Word IS alive and speaks to us in countless ways. So we try to validate and support the many ways you can respond to Scripture. ~ In addition, we've also defined "respect" as "an artist's respect for themselves." It encourages them to consider and evaluate if the work they're producing for Spark+Echo is matched to the nuance and quality of the full body of art they produce. We're particularly proud of the "Spark Notes," the artist's statement about their own work. “I read the verse and it came alive for me in these ways because of the experiences I've had in my life.” These personal revelations have helped audiences tremendously to align and "settle in" to the art they find. We think those kinds of works are some of the most exciting, because even though we might not see similar things in that verse, we understand that something was there for them. And that makes us want to peer into Scripture even more, through other lenses. What do I see? What is God saying to me? And even what did God say to me through your work? ~ If the work is just challenging for an audience and skews from a “traditional” interpretation, we spend extra time with the artist's statement. Periodically, we include an “editor’s note” to help orient the audience. For additional questions about the project or process, check out our FAQ , or feel free to contact us .

Illuminations Gallery or refresh page to see more. Artist in Residence 2016: Stephanie Miracle Part 1 Ecclesiastes 1:8-18 Artist in Residence 2016: Stephanie Miracle Part 2 Ecclesiastes 1:8-18 Artist in Residence 2016: Stephanie Miracle Part 3 Ecclesiastes 1:8-18 The Capture, The Escape Jeremiah 13:20 The Mountain of the House of The Lord Matthew 1:5 I See Him but Not Now Joshua 2:1-24 So Shall Your Descendants Be Joshua 6:22-24 Artist in Residence 2015: Melissa Beck Part 1 Proverbs 19:20-21 Artist in Residence 2015: Melissa Beck Part 2 Isaiah 50:6-8 Artist in Residence 2015: Melissa Beck Part 3 Exodus 28:1-5 Artist in Residence 2015: Melissa Beck Part 4 Isaiah 50:7 Artist in Residence 2017: Lily Maase Part 1 Revelation 11:3-7 Artist in Residence 2017: Lily Maase Part 2 Revelation 9:10-20 Artist in Residence 2017: Lily Maase Part 3 Revelation 9:10-20 Artist in Residence 2016: Lauren Ferebee Part 1 Proverbs 8:32-36 Artist in Residence 2016: Lauren Ferebee Part 2 Proverbs 8:6-11 Artist in Residence 2016: Lauren Ferebee Part 3 Proverbs 8:17-21 Artist in Residence 2013, Emily Ruth Hazel Isaiah 50:2-3 Artist in Residence 2020, Sapient Soul (Marlanda Dekine) Job 10:10-12:8 Artist in Residence 2015: Jason DaSilva Part 3 Romans 12:2 Artist in Residence 2015: Jason DaSilva Part 2 Romans 12:2 Artist in Residence 2015: Jason DaSilva Part 1 Romans 12:2 Reflections on Water Isaiah 43:2 Artist in Residence 2018: Elias Popa Part 1 Job 38

Experience the Bible Illuminated. A modern gallery of honest expression from artists deeply engaged with Scripture. Start Exploring Welcome to this NEW 2024 beta version of our site. Please bear with us as we iron out some minor issues. We hope that you'll check back often – to see the on-going development, and to continue experiencing the Bible through art in your everyday life. The Bible Sparks Inspiration. Enlightenment. Challenge. Interruption. Examination Comfort. Provision. Healing. Satisfaction. Rest. When we encounter it... We listen. We respond. We create. We echo. Explore Gallery In response to Obadiah 1:21, photographer Allison Daniell Moix offers this work as in thoughtful and vulnerable reflection. Obadiah 1:21 A New Language Featured Art View This Art Allison Daniell Moix What Is Illumination? Yesterday's illustrated manuscripts and story-telling stained glass open new avenues of expression to today's culture. Why This Project Matters Melissa, TN "I never imagined something like this could exist. You've transformed how I view my favorite passages." Abby, CA "The discussion and energy that this has generated has been nothing short of phenomenal. I can't tell you what a breath of fresh air this is." John, PA "I've needed something like this for so long to re-ignite my desire and passion for Scripture. The expression of these artists is giving voice to my heart." There are 31,102 verses in the Bible. 28,858 still need illuminated. Our Goal: Illuminate the Whole Bible. Get Involved CONNECT Join our mailing list for news and updates as we grow. CREATE Join our growing list of artists to be selected to illuminate a passage. GIVE We rely entirely on the generous support of our donors. Any amount helps. Donate Today! SHARE Who needs to know about Spark & Echo? Spread the Word far and wide. COPIED! Paste to share in social or email! Copy www.sparkandecho.com Artist in Residence 2015: Melissa Beck Part 1 Proverbs 19:20-21 Artist in Residence 2015: Melissa Beck Part 2 Isaiah 50:6-8 Artist in Residence 2015: Melissa Beck Part 3 Exodus 28:1-5 Artist in Residence 2015: Melissa Beck Part 4 Isaiah 50:7 Eve's Song Genesis 2:21-24 Caves and Echoes 1 Samuel 24:3-7 2020 Artist in Residence: Marlanda Dekine Job 10:10-12:8 A Clean Heart, O God! Psalms 51:11 Haggai 2 Haggai 2 ALMA No 5 1 Timothy 6:1-21 A Study in Lying Ecclesiastes 4:10-11 Memories Ecclesiastes 9:5-7

How to Get Involved 100%. Without A Doubt. Like, we've never been so sure about anything. This Project needs you. Become a Creator Sign up to join our growing list of artists. We'd love to explore a potential future commission! Sharing is Caring! Who do you know who would love Spark+Echo? Share us on social. Send a friend an email. Give somebody an old-fashioned phone call to share your excitement. Contribute Financially Any amount helps, and regular monthly donations are such a blessing! To date, this project relies completely on the generosity of faithful donors who resonate with the mission. All donations are tax-deductible. Join our Mailing List The best way to stay in the loop of news, updates and future opportunities to get involved!