While many artists seek to convey a sense of the layers of suffering and anguish in the Passion of Christ, few consider what the medium itself conveys. This life-sized sculpture appears weightless, and it radiates light and lightness. “In the context of my artworks,” Scala writes, “the use of partially transparent wire fabrics allows the examination of the underlying structure of the subject. By shaping Christ’s image into a hollow form and introducing gold to the surface, the sculpture takes on a transparent and yet reflective character.”
One year Marie gave up TV for Lent. If Jesus Christ could bear His cross, then kite on it three hours so we’d repent, sacrifice in return was merely right. I swore off sweets, only to break my fast with thieved chocolate, watching Lord of the Flies, a film exposing my black soul. Aghast, I rushed to my sister’s room for advice. She was asleep, my parents too. Spilling from the TV, English schoolboy savages marched the house, whetted for blood and killing. I screamed for Jesus. But His ravages snared Him, like a film, in cruel depiction— as if it were my own crucifixion.
While wanting to be faithful to the Russian tradition of icon painting, Ludmila Pawlowska seeks a new way of expressing what Matisse (when he discovered icons) termed “luminosity and devotion.” Her own Orthodox faith and cultural heritage (she was born in Kazakhstan and has been influenced by art movements in Sweden, where she lives) shape her exploration. “God is not an idea, and praying is not an exercise to improve our idea of God,” she says. She calls an icon a kind of prayer—“the cultivation of the awareness of God’s actual presence.”