Article

Character

Comment

Friendship

Virtues

22 January 2025

4 min read

As algorithms divide us, who should we be loyal to?

An ethicist’s answer, shows we need courage and wisdom too.

Isaac Frisby

Isaac is a PhD candidate in Theology at Durham University and preparing for priesthood in the Church of England.

Three people sitting looking out over viewpoint are silhouetted against the sky.

Priscilla Du Preez on Unsplash.

What is loyalty? As we plunge into this new year of 2025 it seems as pressing a question as ever. The war in Ukraine rumbles on, a fresh Labour government continues to struggle with public opinion, and America returns to the unpredictable rule of the first president in its history to be a convicted felon. The algorithms of social media continue to segregate and amplify different audiences into ever more closed feedback loops and echo chambers. This may bolster loyalty to a point of view, but estrange us further from our friends and neighbours whose loyalties lie elsewhere. All of these and many other cases highlight the conflict of loyalties in our society and wider world. What is even more obvious is that if we are to make peace, cultivate love for enemies, and pursue the common good, then perhaps the most in-demand virtue of 2025, at the top over every wish list, might just be loyalty.

But what really is loyalty?

I was struck by a persuasive answer given by Dr Tony Milligan, research fellow in philosophical ethics at King’s College London, during his appearance on a recent episode of The Moral Maze on BBC Radio 4 that asked ‘is loyalty a virtue or a vice?’ He said loyalty is, “Sharing another person’s commitments and the willingness to go through various kinds of adversity in order to pursue those commitments and to further them.” Under cross examination and asked if loyalty is then an absolute virtue he responded, “I think that it’s absolute in the sense that we absolutely need to have it, that it’s basic to the human condition and not optional.” His second interrogator, Giles Fraser, then suggested a ‘high doctrine of mates’. In this doctrine you are loyal to your mates in all circumstances, even if they are ‘wrong-uns’. Dr Milligan’s response, when asked how he would characterise this ‘doctrine of mates’ position, was fascinating: “Addiction.” Fraser then asked if that addiction could be love. “It’s a case of love, and we don’t get to choose the people that we love. We find ourselves in the predicament and then try to make the best of it…I love my wife Susanne, I’ve been with her 31 years, and it’s love, and it’s also addiction. I just can’t envisage a world in which I would be without her.” This framed Dr Milligan’s final powerful point: love, and the loyalty which love entails, gives us our sense of value.

I can bear witness to the truth of Dr Milligan’s intertwining of love and loyalty. Last autumn I became a father for the second time. My love for my eldest is so great that there was a real question: ‘if my love for my eldest is so total, so all encompassing, how can I possibly love a second as much?’ This question melted away as I gazed into her screwed-up face, moments after she entered the world. I am completely dedicated to ensuring that she flourishes and I would “go through various kinds of adversity in order to pursue” her flourishing. As Dr Mulligan also said, loyalty “is basic to the human condition and not optional.” Of course, how this total and non-zero-sum loyalty of love to both of my children actually works in practice requires of me thoughtful negotiation. If one wants to go to the park and the other wants to go to the swimming pool I cannot split in two and do both things at once. Loyalty, as finite human beings, requires wisdom in living in the middle of a messy network of demands and desires, of the preferences and needs of others.

If loyalty is then one thing, it is the willingness to recognise that we are tied to other people, whether we like it or not. Cain’s question to God, when God came looking for Abel, is still pertinent: “Am I my brother’s keeper?” Perhaps the greatest disloyalty is the implied ‘no’ in Cain’s rhetorical question. In denying that he is bound to his brother he is disloyal not only to Abel, but to himself because he denies his own humanity and isolates himself from the humanity of other people. If we isolate ourselves, having loyalty only to ourselves, we lose the joy of being fully human. If we simply kill those we dislike, whether literally (in war or murder) or metaphorically (‘unfriending’, cancelling, pretending they do not exist), then we follow Cain. Loyalty, as the tie that binds us to the messiness of the real world where people vehemently disagree all the time, requires not only wisdom then but courage also. It takes courage to commit to one person in marriage. It takes courage to raise a child. It takes courage to continue to talk with and to love those with whom you deeply disagree.

When practising our 2025 New Year’s resolutions let us make sure that amongst the commitments to get back to the gym and practice that new hobby that we remember to practice loyalty. Loyalty not only to those we love, but to those we might come to love. Let us be wise enough and brave enough to be fettered to those with whom we disagree, loyal to the humanity that binds us together.

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Review

Art

Character

Creed

Easter

Suffering

18 April 2025

5 min read

Why sculpt the face of Christ?

In Nic Fiddian Green’s work we feel pain, strength, fear and wisdom.

Jonathan Evens

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A man looks up a shaft of light that illuminates him and a crucifix higher up a wall.

I Accepted, 2025.

Richard Foster.

The seeds of faith were sown in the life of Nic Fiddian Green by his father. As he has explained recently, he “was shown a way and a faith, and an understanding around the faith of Christianity, in the way my father lived”.

Later, his wife-to-be, Henrietta Hutley, asked him to help create Stations of the Cross for the Wintershall Estate in Surrey where, today, The Nativity and the Life of Christ are regularly performed. Henrietta’s father, Peter, wrote and brought The Passion of Jesus to Trafalgar Square, while her mother, Anne, had the vision for the Stations of the Cross project after a life-changing visit to Medjugorje.

Fiddian Green says that “The Face of Christ has been with me for over 40 years” and that he has “searched for His face through my art as part of my spiritual journey, and also in the work of many others – especially Renaissance artists like Giotto, Piero della Francesca and Michelangelo”.

Fiddian Green, who is internationally celebrated for his monumental equine sculptures, has created a deeply personal and spiritually resonant exhibition entitled The Face of Christ. The exhibition features 20 new sculptures including works in bronze, copper, lead, marble, plaster, and silver, together with a series of drawings. The exhibition ranges from the Nativity to the Resurrection but focuses primarily on the crucifixion.

The exhibition is deeply personal for Fiddian Green because it is informed by the harrowing encounters he had with an array of life-threatening illnesses a few years ago. These caused an obvious and honest creative re-assessment and it is from these experiences that a stronger, deeper and more contemplative vision has emerged. One that permeates the new work via modes of stillness and reflection.

The Face of Christ offers a profoundly meditative engagement with the image of Christ, capturing a sense of serenity, resilience, and transcendence in bronze and stone. In these works, he shows us how his spirit and his faith help him triumph over the physical as he explores the enduring power of faith, suffering and redemption. In the eyes of his work, we feel pain, strength, fear, wisdom and more as he asks questions of the viewer that leave a powerful and spiritual resonance.

Fiddian Green says: “These works are a reflection of my journey of faith. I have come to find that His power to elevate us underpins everything I strive to do and The Face of Christ is an attempt for me to convey in my work all that He conveys in my heart. Christ gives me the key, but will I open the door…?”

A sketch shows the hanging head of Christ wearing a crown of thorns.

This Storm Will Pass, 2024. Slademore Gallery.

A crucifix hands on a round-topped slab.

I Paid, 1993. Slademore Gallery.

Crown of Thorns, 2025. Nic Fiddian Green.

While the exhibition focuses on the crucifixion and the face of the crucified Christ, the expression on Christ’s face is generally one of peace, rather than pain. In part, this is because many of the heads of Christ included are images of Christ resting in death prior to the resurrection. The brokenness that the crucifixion brought is shown in these images through damage to the body of Christ, as opposed to the expressions on his face. This is most powerfully the case with ‘Broken for You’, a bronze crucifixion sculpture where Christ’s torso, as well as being scarred by a long spear-like fissure, has also been fractured with the two parts fused together using brace brackets. Similar fissures appear on other of the crucifixion sculptures but ‘Broken for You’ goes furthest in graphically showing the pain Christ endured on our behalf.

It seems to me that Fiddian Green could go further in revealing the horrors that Christ endured and that his love of Renaissance art with its focus on beauty and balance might hold him back in this regard. Another artist to have regularly depicted the Crucifixion in images shown in mainstream galleries in recent years is Peter Howson, whose images of the crucifixion are much more expressionist graphically capturing the depth of pain that Christ endured. Fiddian Green’s drawings, more than his sculptures, tap into the sense of pain endured, particularly ‘This Storm will Pass’, a partial image of the face of the crucified Christ which in its frenetic pencil-marks and incomplete state speaks particularly powerfully.

Fiddian Green, by contrast, primarily gives us a sense of the peace that he receives from Christ on the face of Christ. ‘I Forgive’, a bronze head of the crucified Christ depicts the love with which Christ looks on us as he endures the cross. ‘Christ is Laid to Rest’ is a huge head encircled by a crown of massive spikey thorns with green verdigris overtones suggesting the sweat and blood of anguish which has led to the completion of purpose that Christ finds in death. ‘Peace’, a plaster sculpture of Christ’s head, is also redolent of the supreme achievement of the cross; ‘It is finished’, meaning that all his work is complete and done, enabling him to rest and enabling us to enter rest.

In these images, Fiddian Green is reading back into the events of the crucifixion the outcomes that it gains for us and showing, in his Christ figures, the peace that he personally finds in the love and forgiveness which overflows from the crucified Christ to each and every human being throughout time and history.

Fiddian Green writes of having “been given materials to use by the God of heaven and earth” – those materials of the earth that he uses in his sculptures – and says that “it is my hope that some of these pieces may rest and resonate with those who see it; that they may find a deep connection by gazing on the works which takes the eye, the heart and the soul to the One who helped me create them”.

While Lent, Holy Week and Easter are often times when art is offered to enable us to walk in the footsteps of Christ it is not common for commercial galleries to specifically invite meditation on these events, so don’t miss the opportunity for contemplation that the Sladmore Gallery is providing through this exhibition.

The Face of Christ, 10th April – 2nd May 2025, Sladmore Gallery, London.

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