Autism and belief: beyond the stereotypes

Reflect on living with the illogical beauty of feeling hemmed in by faith.

Henna Cundill

Henna is a researcher with the Centre for Autism and Theology at the University of Aberdeen.

A theatrical set door stands in the middle of a snowploughed road between fields of snow under a blue sky.

Photo by Zach Vessels on Unsplash.

Do autistic people believe in God? Can they? The stereotype says no. The stereotype says that autistic people have a preference for all things logical, scientific and systematic, and therefore God, accessed only through the medium of metaphor and subjective experience, must be beyond the autistic ken.

But we all know about stereotypes – they rarely serve us well. As it turns out that there are quite a few autistic people in churches, worshipping a God in whom they supposedly cannot believe. In fact, at the Centre for Autism and Theology (based at the University of Aberdeen) we have whole programme of research dedicated to understanding what it means to be an autistic person of faith.

It is not only true that autistic people can and do believe in God (some, anyway), but also autistic Christians can teach the rest of us a thing or two about the assumptions we make when it comes to why people live a life of faith. For example, if we assume that anyone with a preference for all things logical, scientific, and systematic is not going to believe in God, then we are also assuming that that faith is some kind of considered, intellectual choice; a conscious decision that Christians have made on how to approach the world and the experience of living in it.

But is faith really a choice? For many centuries the church was mired in this very argument about free will versus predestination. The matter never really got settled, indeed some theologians still earn their bread and butter by carrying the discussion on. Meanwhile, here in the academic cheap seats (so called ‘practical’ theology) we ask a different question: not do people have free will to choose the Christian faith, but do people feel like they have free will to choose the Christian faith? And what difference does this feeling make?

If I reflect on my own life as a Christian, I know there have been times when I’ve stumbled into prayer, angry or in despair (often both), feeling as if I don’t like my faith all that much. Or that maybe that God just doesn’t like me. More than once I’ve prayed, “I’m going to keep following you, God, no matter how hard you make this!” Is this great faith, or just sheer bloody-mindedness? I like to believe that I can walk away from practicing my faith, but can I really walk away from having it?

My research with the centre for autism and theology has been an education in how to live with the illogical beauty of feeling hemmed in by faith.

At one point in the Old Testament a psalm-writer speaks of feeling “hemmed in” by God. This resonates. My life is a patchwork quilt of being faithful to the Christian call, but also unfaithful, reluctantly faithful, faithful in public but, frankly, a bit iffy in private… yet every time I get to the very edge, somehow God is there. I cannot rationally explain God’s persistence in always catching me before I fall into utter, irrevocable faithlessness. It is certainly not logical. It is most certainly beyond my ken.

My research with the centre for autism and theology has been an education in how to live with the illogical beauty of feeling hemmed in by faith. Autistic Christians have taught me so much in the way that many of them persist in attending church, even when it is being stated or implied, not only by their non-Christian acquaintances but also by other churchgoers, that they are simply not meant to be there. Some have wandered from church to church and from denomination to denomination, trying to find acceptance and welcome. As one autistic young woman put it:

‘Going to church is just part of what Sunday is… [but] a lot of spiritual life is just up in the air and me working things out.’

When the purpose is counting bums-on-seats, research does tend to show that autistic people are more likely to be atheists. At the same time research also tends to show that socialisation is a big factor in the formation of faith. Perhaps it is little wonder then, that a group who often find themselves excluded socially are less likely to nurture and develop a faith. But then again, how do we explain a whole cohort of people who still have their bums on the Sunday seats and their hearts engaged in worship? Autistic people can and (some) do believe in God, and they keep engaging with church, working things out. Is this great faith, or sheer bloody-mindedness? At any rate such resilience is certainly not logical or rational, but perhaps it is just another thing that is beyond my ken.

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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