Wow...the last thing that I want to think about right now is food, but wanted to share a few pictures from Christmas Eve and Christmas.
We started Christmas Eve morning off by making the breakfast sausage (see last post), and stuffed about half of the mixture into hog casings. You did know that sausages are usually stuffed into pig intestine, right? In any case, it was quite a bit of fun, and they're very tasty.
For dinner, we had Boudin Blanc - quite an adventure to make. If you've never made an emulsified sausage, the mixture is the consistency of soup or pudding and it turns out looking like a hot dog, as opposed to a breakfast sausage, inside. Mistake #1 was not listening the cookbook that said not to use the Kitchen Aid sausage stuffer for this recipe. They recommended a pastry bag, which I do not have, so I threw caution tot he wind, and busted out the sausage stuffer which would have been fine except for the late addition of some morel mushrooms that some friends gave us - I wasn't thinking about the difficulty of passing a chunk of mushroom through the sausage stuffer and after loading the hopper with the soupy mixture, had to empty it, remove all of the mushrooms with my hands (emulsified sausage, by the way, must be kept very cold so that the fat doesn't separate, and so my hands were freezing!), refill it, and stuff the sausages. After stuffing them, they were poached...
...and then sauteed in butter, and served over a bed of shredded brussels sprouts with a small trifle dish of sauteed apples...delicious.
For dessert, Rachel had made The Best Recipe Pecan Pie...the best pecan pie Rachel's dad had ever had.
We rolled ourselves into bed, and then promptly out again the next morning to do it all over again.
For breakfast I made french toast out of some leftover brioche from the night before, covered it in creme anglaise left over form the trifle and garnished it with raspberries.
Sam did enjoy licking out the whipped cream bowl!
For lunch, we did a repeat of the Boudin Blanc for my parents, and then grazed until the Prime Rib, Yorkshire Puddings and my Sweet Potato with Apples, Gruyere and Thyme Gratin was done.
I have to admit, I wasn't really in the Christmas spirit until today...and all it took was a trip to the butcher. For whatever reason, I find farmer's markets and butcher shops inspiring - if you cook, then you know exactly what I mean. I walked into Bob's Butcher Block this morning and it was packed with people and lots of holiday cuts like 8 or more rib standing rib roasts and more.
I spent the morning planning this evening and tomorrow's menu, as well as the menu for our 3rd annual Holiday French Dinner, and tonight's menu required a few things that I didn't have in my freezer - pork shoulder and hog casings. We're making Boudin Blanc, a traditional French holiday sausage (http://www.lifestylefood.com.au/recipes/2823/boudin-blanc-morelle-sauce#/latestvideos//) this evening as a test run for the holiday dinner, and I figured that as long as I had the Kitchen Aid meat grinder out I might as well make some breakfast sausage.
"Breakfast Sausage with Fresh Ginger and Sage - the recipe came from Ruhlman and Polcyn's Charcuterie: The Craft of Salting, Smoking, and Curing - what else is there really? Can I just say something? If this is sausage, what have I been eating all of these years? I told Rachel that it was like a party in my mouth. Delicious. You must make this sausage, or at least some sort of sausage, for yourself!
Sausage with Over Easy Fried Eggs, Clementine Wedges and Sage Garnish (grown in the Brewer garden, and hanging dried in our kitchen)
I love the holidays - a great excuse (when I actually have time)to cook all of those things that I've been wanting to cook all year. Rachel has been baking cookies like crazy, and last night I made my dad's Christmas Cashew Brittle.
This afternoon we're making a pecan pie for tonight, as well as Pat's Holiday Trifle a trifle for tomorrow - a holiday tradition of ours (see last year's post for pictures).
Then tonight, of course, is the Boudin Blanc, and tomorrow is breakfast (more of the sausage), and then Prime Rib with Yorkshire puddings, and Sweet Potato and Gruyere Gratin.
...and Rachel reminded me that I couldn't write a long post on food and forget to share a few pictures of the boys. So, here they are...our little cherubs (especially right now...they're sleeping).
Classic Sam - with a busted lip...which is also pretty much the norm for this little one whom we affectionately call "The Tank"
On a recent trip to the local bookstore I stumbled across a copy of Scroogenomics by Joel Waldfogel. I was intrigued by the book, and while I didn't get much further than the back cover, I've talked about the book with at least a dozen friends. Check it out...
Some time ago I spoke to Rick Beerhorst about doing a logo for me for Gospel through Shared Experience, and he just sent over the initial sketches. Once we settle on a sketch, he'll complete the woodcut.
I prefer the spread to the circle, but want him to make a few changes. I'll post the various iterations as I receive them...would love to hear your thoughts. It's based on 1 Corinthians 3:5ff.
Trinity, 2009 Oil and Wax on Linen Three Panels, 45x27" each www.alfonseborysewicz.com
Have you ever wished you could see the world through someone else’s eyes? If so, you’re in good company. In his book An Experiment in Criticism, C.S. Lewis explains: “We want to be more than ourselves. Each of us by nature sees the whole world from one point of view with a perspective and a selectiveness peculiar to himself.” (137) He exclaims: “My own eyes are not enough for me, I will see through those of others.”
But how does Lewis suggest that we go about seeing through the eyes of others? He suggests literature, arguing that it “…heals the wound, without undermining the privilege, of individuality.”(140) It’s true isn’t it? Literature has the ability to lift us out of our own individual experience and perspective, to see the world through someone else’s eyes, and so too art. Art is a window through which we can see the world from another perspective.
Artists have something unique. Not everyone sees the world the way they do. For some, this is reason enough to dismiss art. After staring at a piece of abstract art you might say, “I just don’t get it!” But that’s just it, even though we may not, they do, and so contrary to what seems natural we step up to see again, but this time through their eyes.
Lewis goes so far as to say: “Very gladly would I learn what face things present to a mouse or a bee; more gladly still would I perceive the olfactory world charged with all the information and emotion it carries for a dog.” (140)
Maybe you've never felt the insatiable thirst for knowledge/perspective that Lewis describes, but seeing through his eyes is, ironically, an application of this passage, and so again, contrary to what seems natural we step up to see again...through his eyes, so that we might see through the eyes of others.
Emmanuel III - Jerusalem
Over the past few weeks I've been trying/learning to see through the eyes of Alfonse Borysewicz. I stumbled across his work in CIVA SEEN (http://www.civa.org/store/publications/seen), and have since struck up a friendship of sorts by way of email. Alfonse has been more than gracious in helping me to begin seeing through his eyes, and I hope that through this post, you too might step up and learn to see...
Preparation of the Throne - After Rublev
More: Seders Gallery - http://www.sedersgallery.com/Artists/089/BorysewiczRES.html Image Journal - http://imagejournal.org/page/artist-of-the-month/alfonse-borysewicz America Magazine (watch the slide show) - http://www.americamagazine.org/content/article.cfm?article_id=10600
Alfonse's Bio: Born in Detroit (1957), Borysewicz received his master's degree in theology before studying painting at the School of the Museum of Fine Arts in Boston. He has received two Pollock-Krasner Foundation Fellowships (1987, 1992) and a Guggenheim Painting Fellowship (1995). He has exhibited widely in the United States, Europe and Japan. Borysewicz also teaches Philosophy and Theology in NY and NJ. He resides in Brooklyn, NY.
This semester and next...this semester and next...this semester and next...okay, maybe I should just focus on tonight. Either way, I'm looking forward to being done.
Looking to learn a bit more about evangelism? The three best books that you could read are Dick Staub's "Too Christian Too Pagan," then Tim Downs' "Finding Common Ground," and then Curtis Chang's "Engaging Unbelief."
I would, of course, want to nuance the conversation a bit, but in general, you'd be better off reading these books than any number of other books on the market.
As you probably know, if you've been reading this blog for any time at all, I'm working on a book project, and this project is the second of two book ideas that I've had (and I've had another since).
I started thinking about Book #1 ten or so years ago, but with M.A., and now M.Div., studies I've had my hands full, and Book #1 has been on the back burner percolating.
For whatever reason, I decided that Book #2 needed to be Book #1, and as one person recently put it, I'm writing my second book before my first (not sure that they meant that as a compliment). In any case, I've decided that the two projects are integral to one another (as theory and practice), and there is benefit in writing them at the same time.
So, I've begun the process of pulling 10+ years of reading, thoughts and notes together, and have set out to write the book one section at a time. I'm hoping to post each section for thoughts/feedback, so without further delay, here's a rough, first draft of my introduction (or at least an introduction of sorts):
Which part of the conversation are we having?The Rules of Conversation
Rule #1 – You can only say one thing at a time.
Only one thing can come out of my mouth at a time.When I open my mouth to speak, implicit in this decision is another decision; namely, the choice to speak about one thing as opposed to another thing.I know…you stand in awe of my brilliance, but seriously, it’s true isn’t it?There are a million different things that we could say, but when we speak, we choose to limit the sphere of what could be said, opting to actually say one thing.
Now, this one thing is what I like to call a part of the conversation.Which conversation?Well, that depends on what you’re talking about, but suffice it to say that the one thing that you actually say is, and this is getting a bit ahead of ourselves, one part of a larger conversation.As simple as this may seem, the vast majority of people who engage in this thing we call conversation fail to recognize this most basic feature of what it means to have a conversation.For whatever reason, we tend to spend more time talking about what wasn’t said (i.e., critique), instead of contributing to and building upon (i.e., construction) what was said.The first part of figuring out which part of the conversation we’re having is to recognize that we, and those with whom we converse, can only say one thing at a time.
When the movie “The Passion of the Christ” was in theaters, I remember talking to and reading reviews by people who had seen the movie who felt that it focused a bit too much on the sufferings of Christ, and this to the exclusion of things like His resurrection.This is a perfect example of failing to grasp Rule #1.A movie about the passion of Christ isn’t about his resurrection.It’s about his passion.That’s why it’s called “The Passion of the Christ.”Mel Gibson could have talked about a lot of things, but he decided to talk about the passion, and if we watch the movie expecting it to be about his resurrection, we do ourselves and our conversation partner a disservice by failing to have a part of the conversation.If we spend all of our time talking about what we didn’t talk about, are we really talking about anything at all?
Failure to understand and apply Rule #1 results in stalled conversations.
But isn’t only having one part of the conversation a bit misleading?I mean, don’t we have a responsibility to tell the whole story?
Rule #2 – That one thing is part of a larger conversation.
Once we acknowledge that we can only say one thing at a time, we have to recognize that the one thing that we say is part of a much larger conversation.Now, this can get pretty complex as there are multiple levels of conversations, but in the example of The Passion of the Christ, Christ’s passion was the one thing, and the person and work of Christ is the larger conversation.
So take a load off.You don’t have to say everything at once.You can say one thing, but only when you recognize that this one thing is part of a larger conversation.It’s freeing isn’t it?You can actually focus on a part of the conversation without feeling like you need to have every other part of the conversation at the same time.But there is a catch.
Rule #3 – We need to have each part of the conversation.
The biggest mistake we can make, other than failing to realize that we can only say one thing at a time, or to recognize that this one thing is part of a larger conversation, is to think that that this one thing is all that we need to say.With freedom comes responsibility.The choice of Rule #1, and the recognition of Rule #2 requires the commitment of Rule #3, and this commitment allows us to give each part of the conversation our full and undivided attention.
~
So, why, at the beginning of a book on evangelism, am I taking time to talk about these three rules of conversation?I’m talking about the rules of conversation because this book, and any book for that matter, is a conversation of sorts, and taken as a whole, I’m trying to say one thing about evangelism, and that one thing has to do with method (or perhaps better stated, methodology, but we’ll get to that later).
Over the course of the last ten years or so, as I’ve been thinking through the content of this book, and sharing it with others, I’ve often been met with critical as opposed to constructive conversation.People have been eager to point out all of the things that I could and should spend my time thinking and writing about with regard to evangelism.Shouldn’t you be more concerned about the role of prayer or the Holy Spirit?While I fully acknowledge these as important parts of the conversation, they are just that, parts, and they’re not the parts of the conversation that I’m having.I’m having the part of the conversation about evangelistic methodology, and taken as a part of the larger conversation, it’s key to the understanding and practice of biblical evangelism in today’s world.
So, now that you know which part of the conversation that we’re having, let’s get started.
I just returned from a business trip to the NW, and while I was there, I was able to take in a few local treats...
I grabbed lunch at Salumi (www.salumicuredmeats.com), the small salumeria/deli owned by Mario Batali's dad, and it was just fantastic. I had read reviews about the meatball sandwich, but by the time I got there, they were sold out so I opted for the hot sopressata sandwich...wow, I had had a few of his salami's at a place in Fennville, MI, and here again, this stuff just blew me away. I grabbed a Mole salami for the road, and headed back to work. For dinner, I headed to Tom Douglas' "The Palace Kitchen" where I had the Washington Heirloom Tomato Salad, and the Peach Cobbler with a double espresso...just enough (I was still pretty full from the salami sandwich).
The next morning I got up early and drove to Espresso Vivace Roasteria (www.espressovivace.com) and had a caramel late...I don't think I'll ever be able to drink a Starbucks Caramel Machiato again...at least without thinking about that cup of coffee. It was unlike anything I've ever tasted (I'm reminded of Hank's word's - slightly modified - "If this is coffee, what have I been drinking all these years?"). If I lived in Seattle, I'd be here every morning...until I was broke. The coffee and croissant were perfect, and the atmosphere was a lot of fun. They roast on a couple of Diedrichs, and have mastered the art of espresso. If you're in town, skip Starbucks, and head to Vivace...you won't be disappointed.
Besides work, and the food highlights, Mt. Rainier, Mt. Hood and the others were breathtaking, and the city of Seattle clean and friendly...it ranks right up there with NYC as one of my favorite cities (though I'm not so sure that NYC could be classified as clean or friendly).
“Look at the world around you. It may seem like an immovable, implacable place. It is not. With the slightest push – in just the right place – it can be tipped.”
Well, I continue to be taught patience as I work on the book project. Everything seems to be moving at a slower pace than I would have liked, but I am encouraged that things are moving. Eyekons just finished photographing a number of works for me, and are getting the disk to me in the next week or so. Dr. Wittmer is planning on having his essays to me within the next 2 weeks. Basically, all I need is $800 to put together the sample pages (i.e., templates). Once I have those I'll be able to show potential sponsors a better picture of what I'm doing...which is a bit better than, "Close your eyes and imagine."
I was in Milwaukee last week, and one morning at the hotel I was flipping through the channels. I stumbled across some sort of religious/motivational programming, and for whatever reason I stopped for a minute or two. The lady was talking about the difference between people who take risks in life, and people who don't. She said that some people walk on the thin branches, and that the difference between people who do and people who don't is that the people who do...and this was the unexpectedly profound part...are willing to live with the anxiety that is the result of the possibility of failure. I found that quite interesting.
Well, I returned the Rembrandt and Riojas...how many people can say that they've driven around with a Rembrandt in their trunk (legally)? Both pieces were great, and from what I could tell, received a great response at CBC.
Today I picked up 3 more pieces from the Gerbens collection - Steve Prince's Prodigal Trilogy. They're linoleum cut prints...unique and provocative. If you want to get a closer look, stop by the church, or go to http://www.eyekons.com/search.aspx?pf=1&pm=RM,RF&ar=10&cg=0&md=1,4,14,6,5,11,7 or his website, www.1fishstudio.com
Well, trying to edit/write and publish your own book is certainly an adventure!
I think that the trick is...
Maintaining perspective (i.e., seeing the big picture)
Never giving up
When I met with Mike Wittmer to discuss the essays that he would be contributing he told me that if I was going to do this on my own, it would have to be my little baby. I took that to mean that I would have to maintain artistic vision, but I'm realizing that it meant that I would have to maintain vision...period.
Its hard to see the end when you're in a valley, and its easy to be discouraged when you've just been on a peak. I've been learning that when things are good, soak it up, because sooner or later things will probably take a little dip, and you've got to be able to maintain perspective.
Well, things are coming a long quite nicely with the book project.
Mike Wittmer (http://mikewittmer.wordpress.com/) has agreed to write the essays, and I'm collecting pieces...as many as I can secure funding for...like crazy.
A few weeks ago, I met Chris Stoffel Overvoorde at his studio, and he showed me 4 or 5 woodcuts that I had never seen before, as well as 2 originals of That Glorious Form, a woodcut that we currently have a giclee print of. When we bought the print we were told that there were no originals to be had, but alas, after 2 years, CSO stumbled across 2, and offered them to me. One was on a blue background, and another on purple...this was his favorite, and it's mine as well. The piece takes it's name from John Milton's poem "On the Morning of Christ's Nativity" (second stanza)."
It's quite large...34" diameter
More recently, I stumbled across Rick Beerhorst's "Braided Vision" (http://studiobeerhorst.com/blog/2009/03/09/braided-vision-2/).
If you check out some of his work, you'll notice that quite a few of the figures have one or both eyes covered. When I spoke with him about this, he said that he was trying to capture something of 2 Corinthians 4:18 - "...we look not at the things which are seen, but at the things which are not seen." He commented that we are so materialistic that we often neglect to listen or look into "what is not seen" (i.e., the eternal). The piece, then, finds a natural place in our collection at the end of the Story...a sort of "How Should We Then Live?" Also worth mentioning is that Rick typically paints his family, and the little girl is one of his daughters.
The oil painting had already sold...which is okay as it would have been beyond us at this time, but the pencil study was still available. We don't have any pencil works in the collection to date, and I've tried to have a broad range of mediums and styles, and so again, it was a natural fit.
It has been really geat getting to know these men and women...great hearts for God, and a desire to serve His Church. I was blown away chatting with Rick as he explained that his art functions as a sort of round about way to speak the gospel into people's lives. He's the first person that I have heard articulate a view on evangelism along the lines of what I've been trying to develop over the last 8 years (Engaging Unbelief by Curtis Chang is the closest thing in print).
So, now I have a woodcut by Ed Knippers, another by CSO, and a pencil study by Rick, all waiting to be framed...but who knows when that will happen...I've got more pieces to acquire. I'll have to worry about framing them after the book comes out...kind of frustrating, but totally worth it if I can get all of the pieces that I'm trying to get for the collection and book.
I have a renewed sense that this project is exactly what I need to do. I've been telling Rachel that I feel like I had to make a decision...a kind of now or never decision, and I'm all in. I've committed to seeing this through...and now I'm a bit nervous as the task seems daunting (read expensive). In any case, I trust that God will provide for this project, and am excited to see it to completion.
Over the course of the summer we'll be showing pieces from Calvin College's collection of Prodigal Son art. I just picked the first two pieces up and installed them on Friday, and I must say that it was a bit unnerving driving down E Beltline with a Rembrandt in the trunk, and a large painting by Edward Riojas across the "backseat" of my 2-door Accord. In any case, we, and by we I mean the three paintings and I, made it safely to the church where I spent 30 minutes or so getting everything ready for Sunday. I'm excited to see how the body receives these pieces as they are perhaps a bit more accessible than some of the pieces we've shown...and how often do you get to see a Rembrandt at church?
www.eyekons.com/prodigalson for more info
The real fun was that night when, on the way home from an evening with friends, I was pulled over. I was of course irritated, but couldn't figure out why I had been pulled over. The officer approached the door and said that he had been following me for a while, and that I had been swerving a bit over the yellow line...an indication of drunk driving! He asked if I had been drinking, I said no and that it probably had more to do with the fact that it was 12:45AM, he asked for my licence and registration, came back to the car, and said that he wasn't going to write me a citation for crossing the yellow line...to have a good night and to get the boys to bed!
I'm working on a book project right now with Eyekons along the lines of the book they did for Larry Gerbens and Calvin College (http://www.eyekons.com/default.aspx?page=108) on the parable of the Prodigal Son.
I've been wanting to do a catalogue of the church's art collection (i.e., Art that Tells the Story) for quite some time, and when I saw the Prodigal Son book, it was exactly the sort of thing I had been imagining. We currently have six pieces in the collection, and are working on acquiring 4-6 more over the next 6 months or so. The idea is that this book will tell the Story (i.e., Creation, Fall, Redemption, and Consummation) through shared experience; in this case, art. The pieces will be paired with appropriate texts, and other reading (e.g., Bob Dylan, C.S. Lewis, etc.) as well as essays by our pastor and one of my professors, author Mike Wittmer.
It's quite a project, and for the time being, I'm funding it myself through pre-sold bundles of books. Here's the idea: someone pre-buys 10 books for $250, and then they can either pre-sell those to friends and family or give them away, to tell the Story through art. I've already got around 10% of the project funded this way, and I've only just begun. I'm also offering bulk packs to churches to give away for evangelistic purposes, 100 copies for $1000.
The idea is that most all, if not all, of the proceeds would go to a foundation/fund that I'm in the beginning stages of setting up called The Gospel through Shared Experience, and this particular ministry would be called Art for the Church (not just Calvary Baptist, but any church looking to teach and edify their body and community through art).
So, in addition to the pieces in our collection, I'm hoping to include works that we'd like to purchase in the near future. I currently have 45 pieces by artists like Makoto Fujimura, Sandra Bowden, Jim DeVries, Clay Enoch, Julie Quinn, Wayne Forte, Chris Stoffel Overvoorde, Barbara Februar, Jonathan Quinn, Edgar Boeve, Peter Gordon, Jim Connelly, Cornelius Monsma, Armand Merizon, Ed Knippers, Scott Laumann, and John Marquardt.
I'm excited about the project as it has multiple benefits, not the least of which is funding the fund/foundation that I've been dreaming about for close to 12 years.
If this is something you'd like to get involved in, please comment, and I'll touch base with you. Again, I'm looking for individuals to pre-buy (i.e., which is in effect an interest free loan if you go on to sell the books) bundles of 10, 20 or more books at $25/ea., or churches to pre-buy bundles of 100, 200 or more copies at the reduced rate of $10/ea. so long as they are for the purpose of being given away.
I'd love to hear your comments on this one.
Here's a sneak peek...
Christ's Resurrection Ed Knippers woodcut, proof, 12x9" Gen. 3:15
I was in Detroit this week, and took the opportuity to swing by Trinity Church where one of my former professors is the pastor. They've done a great job of rethinking and redesigning their worship space...less multi-purpose building, more sacred space.
The sanctuary is tiled with what looks like slate. They have wooden pews with kneelers, and they just finished installing a pipe organ. Who does that anymore?
They have half a dozen or so artists in the congregation, and so the space is filled with art. Three series stick out in my mind:
Two large black banners at the front with Hebrew text scrawled top to bottom. These banners contain the text of the Ten Commandments, and hang there during the season of Lent.
stage left
stage right
(stage left, detail)
On the pillars throughout the sanctuary they have prints of Kevin Rolly's Stations of the Cross printed by Eyekons (http://www.eyekons.com/default.aspx?page=81), also for Lent.
And then, down one wall, a series of banners by Paul Murphy on the Apostle's Creed.
I believe in God, the Father Almighty, the Maker of heaven and earth, and in Jesus Christ, His only Son, our Lord:
Who was conceived by the Holy Ghost, born of the virgin Mary,
suffered under Pontius Pilate, was crucified, dead, and buried;
He descended into hell.
The third day He arose again from the dead;
He ascended into heaven, and sitteth on the right hand of God the Father Almighty; from thence he shall come to judge the quick and the dead.
I believe in the Holy Ghost; the holy catholic church; the communion of saints; the forgiveness of sins;
the resurrection of the body; and the life everlasting.
Well, today was the first day of our church's Lenten exhibition, and from what I could tell, the art was well received. Julie Quinn was gracious enough to join us for morning worship, and spent some time before, between, and after the services chatting with people about her art. I thought I'd post a few pictures from the morning to give you a feel for the exhibition.
Church Foyer leading into the sanctuary
Psalm 22 Crucifixion '04 - Wayne Forte
Redemption Series 1, Redemption Series 2, Redemption, The Cost of Grace, and Passion Song 1-4 - Julie Quinn (pictured)
Objects from the Passion '07, Pieta, Holy Family '04 - Wayne Forte Three Days, Access - Julie Quinn
In addition to two of Peter Gordon's paintings (Connetquot 1 & Connetquot II) we'll be showing John Marquardt's Vessels for Honor. John is a member of Calvary Baptist Church, and is in charge of the facilities and operations at Camp Calvary in Newaygo, MI. If you're in the area, feel free to stop in and check them, and the other artwork out.
In 2 Timothy, Paul speaks of vessels for honor that have been sanctified, useful to the Master, and prepared for every good work.John Marquardt has given us a picture of this text worked out in wood.
“Turning in knots and burls, then sanding and polishing the grain can bring out the incredible figure often hidden from the outside.Looking at a piece of wood and learning how best to use its characteristics is always a challenge.”
“This is so much like our Heavenly Father who can take a sinner and shape and mold that person into a vessel of honor unto Himself.”
A few of my favorites...
Vessel for Honor Mesquite
I struggled a bit with the title for this one, but felt that it was the best representation of John's work, and so I named it after the show itself. This piece is a prime example of John's desire to take something that is broken and shape it into something beautiful. Not only that, but this piece actually showcases the brokenness, and this brokenness is what makes the piece unusually beautiful. In this sense the piece is a picture of a life well lived; that is to say, a life where His strength is made perfect in our weakness. It is a life that has obviously been shaped by grace, but still bears the scars of life under the sun. More could be said, but I think you get the idea.
Saturn Bowl Manzanita Root, California
This piece is just so unusual. It makes me think of a flower, and again, typifies John's ability to cut away that which is unnecessary or does not belong in order to expose that which belongs, maximizing the unique features/gifts of the piece.
Have you ever wished that you could see the world through someone else’s eyes?If so, you’re in good company.In his book An Experiment in Criticism, C.S. Lewis explains: “We want to be more than ourselves.Each of us by nature sees the whole world from one point of view with a perspective and a selectiveness peculiar to himself.” (137)He continues: “My own eyes are not enough for me, I will see through those of others.”
But how does Lewis suggest that we go about seeing through the eyes of others?He suggests literature, arguing that it “…heals the wound, without undermining the privilege, of individuality.” (140)It’s true isn’t it?Literature has the ability to lift us out of our own individual experience and perspective, to see the world through someone else’s eyes, and so too art.Art is a window through which we can see the world from another perspective.
Artists have something unique.Not everyone sees the world the way that they do.For some, this is reason enough to dismiss art.After staring at a piece of abstract art you might say, “I just don’t get it!”But that’s just it, even though we may not, they do, and so contrary to what seems natural we step up to see again, but this time through their eyes.Lewis goes so far as to say: “Very gladly would I learn what face things present to a mouse or a bee; more gladly still would I perceive the olfactory world charged with all the information and emotion it carries for a dog.” (140)
In an effort to enable our church body to see through someone else’s eyes, and thereby to be taught and equipped (http://www.cbcgr.org/content/ministries/worldview.htm), we have been collecting art that tells the Story, and more recently, we have been showing the work of other Christian artists throughout the church building.
During the month of October Jonathan Quist’s Preparation was prominently displayed in the main foyer.Drawing upon the text of 1 Samuel 17, Quist’s pastor, Rev. Alton Hardy of Madison Square CRC, is portrayed as David, stones and sling in hand (17:40) about to face a giant.The giant in this painting, however, isn’t Goliath, but the goliath of racism in the Church.The railroad tracks are the brook, a line dividing neighborhoods, as well as a concrete picture of a decision to be made.In the background, the Church is drawn up in battle array (17:2), but content to watch the battle from a distance.As a church we are uniquely positioned to represent the reign of God to a community and culture that is different from many of us.Will we battle this goliath as community, servant and messenger of God’s reign?
Jonathan Quist, Preparation
oil on canvas, 84 x 60”
2007
Here’s what some of our church family had to say…
“Praise God for bringing this tragic issue so tastefully and artistically into the church foyer. May we join hands and hearts to slay this giant together across all racial and cultural boundaries.” BillCommons
“Impressive and insightful - a mixture of contemplative action, prayer, and apathy - a real picture of where we are, and challenge of where we should go.” Cheryl Elmer
“A wonderful image that grips my heart. Lord, help me in the battle. May I be a soldier in your army for your cause.” Colleen Smith
In addition to Jonathan’s piece, we had two pieces by Julie Quinn (www.juliequinnart.com) in our ResourceCenter during the months of October and November. Creation Revisited and Awakening are spiritual abstractions, and provided a great opportunity for us to engage abstract art, the subject of which is internal as opposed to external.These two pieces were shown alongside our permanent collection of art that tells the Story.
During the month of December we exhibited five of the six paintings from Peter Gordon’s “Songs of Advent” series in the main foyer.This series includes Balaam’s Song, Mary’s Song, Angel’s Song, Zechariah’s Song, Simeon’s Song and Anna’s Song, the last two of which are part of our permanent collection.
Peter Gordon talking with Linda Cypher about
Angel’s Song, November 30, 2008.
Alongside Peter’s “Songs of Advent” series we showed Julie Quinn’s Reckoning. Reckoning is an abstract vision of Christ’s glorious return (Matthew 24:30; Mark 13:26; Luke 21:27) that seeks to restore not only a sense of wonder, but also a sense of awe.All too often we forget that the One who is coming is not “the child Jesus” that Simeon held in his arms (Luke 2:27-28), but a righteous King who is coming to vindicate His name (Revelation 19:11-16).In the piece heaven is separated from the earth by a horizontal line.The Lord is descending in great glory amidst flashes of lightning and peals of thunder.The heavens are aglow with the glory of God!
Julie Quinn, Reckoning
ink, oil, and acrylic on clayboard, 36x24”
2007
In addition to the pieces in the foyer, we also had two of Julie’s series in our Resource Center: “Autumn Song” (1, 2 and 4 of 4) and “Winter Song” (1-4 of 4).We will be showing more of her work over the course of the next few months.In addition to her work, we will also be showing a selection of John Marquardt’s wooden bowls which, in their own beautiful way, speak a word of redemption to a fallen world.
During the seasons of Lent and Easter we will be showing more of Julie’s work, as well as some of Wayne Forte’s works on paper (www.wayneforte.com), including The Creation of Eve ’94, Raising Lazarus ’04, Objects of the Passion ’07, Psalm 22 Crucifixion ’04, Deposition with Rooster ’06, and Pieta, Holy Family ’04.
Wayne Forte, Raising Lazarus ‘04
oil and acrylic on paper, 50x59.5”
2004
Julie Quinn, Redemption
ink, oil, acrylic, and wire on clayboard, 36x18”
2006
Have you taken the opportunity to see through the eyes of others?Please do, and be sure to respond in the black journal in the Resource Center so that we can pass it along to the artists, and affirm their giftedness in thanksgiving to the One who created all things!
We are thankful for God's unrelenting faithfulness in our lives, for family and friends. We are celebrating today in our home with our boys, as our family is spread from New York to Georgia to Texas and back again, and though its a bit different than years past, we're happy to be in a warm home, with good food, and the two little men we love most. Happy Thanksgiving!
Today's Menu
Boursin Garlic & Fine Herbs Gournay Cheese, Michigan Dried Cherries and Water Crackers
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Fennel and Celery Salad The New York Times, November 21, 2008
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Slow-Roasted Turkey with Gravy Cooks Illustrated, November & December 2008, pp.10-11
Classic Green Bean Casserole www.cooksillustrated.com
Sweet Potato Souffle The New York Times, November 21, 2008
Challah The New Best Recipe, pp.751-753
Cranberry Sauce spiked with Grand Marnier
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Pumpkin Pie with Fresh Whipped Cream Cooks Illustrated, November & December 2008, pp.24-25
Macadamia Nut Cream Coffee The Evelyn Bay Coffee Company, Jackson, MI
Country Pate, served with black olives, cornichons, Dijon mustard and crusty bread Julia Child & Jaques Pepin, Cooking with Jacques & Julia, 30-35
Salad Jaques’s French Potato Salad Julia Child & Jaques Pepin, Cooking with Jacques & Julia, 123
Entree Fondue de Poulet a la Crème (Chicken Simmered with Cream and Onions) Julia Child, Mastering the Art of French Cooking, 262-263
Mushroom Risotto Cooks Illustrated
Julia’s Green Peas Julia Child & Jaques Pepin, Cooking with Jacques & Julia, 206
Roasted Heirloom Carrots
Cheese Pres Mimolette Saint Andre Triple Crème Soft-Ripened Gruyere Comte Epoisses Bourgogne Berthaut AOC D’Affinois La Roche Bleu
Dessert Grand Marnier Souffle Cooks Illustrated
Chateau Grand Traverse Late Harvest Riesling 2007 Chateau Moulin Rouge Haut Medoc 2005 Chateau d’Oupia Minervois 2006 Chateau Guiraud 1er Grand Cru Classe Sauternes 2002
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Well, everyone arrived around 1:00 and we enjoyed the Country Pate, accompaniments and bread.
While everyone was eating, we divided the tasks, and got started on the potato salad.
After the potato salad had been prepared, it was left to marinate for a few hours to allow the flavors to develop. It was served on a radicchio leaf as a hearty fall/winter salad course.
Our entree took a few more hands as it included the chicken, as well as mushroom risotto, peas and carrots. The chickens were bought whole and butchered by Chris and Jeremy. We cut out the backbone, separated the leg/thigh from the breast, cut off the wings, and split the breast, which we then cut into 2 pieces so that everyone could get a little bit of white and dark meat. It was then browned in butter, and removed from the pan. Then we sauteed 3 c. of sliced onions before returning the chicken to the pot, adding salt, white pepper, curry powder, brandy, and 6 c. of heavey cream...now that's what I'm talking about!
The mushroom risotto was an involved process, which Brent oversaw, but before we could start the risotto we had to try the parmigiano reggiano...mmm, delcious, and the risotto was all sorts of yummy goodness.
Heather and Shawn took care of the peas and carrots. Unfortunately, we had to go with frozen peas, but I found these heirloom carrots at the Fulton Street Farmer's Market, and they were everything a good carrot should be. Plus, they added a wide range of colors to our plates!
Meanwhile, Rachel was busy setting the table marking each person's place with a pumpkin place holder.
After finishing the aforementioned potato salad, we quickly plated the food and feasted on a plateful of French goodness.
And then the cheeses...five to be exact, served with dried Michigan cherries, dried apricots and toasted almonds.
And as if that weren't enough, we finished the evening off with 2 Grand Marnier Souffles, and a bit of fresh roasted Guatemalan "East of Eden" coffee...and yes, we rolled our guests out the door, and promptly rolled ourselves into bed!
