In the city of broken windows

Our fractures become fractal, breaking bigger and bigger windows.

Jamie Mulvaney

Jamie is Vicar of St Michael's Chester Square, London.

a multi-paned window mural shows people while amid it are broken window panes.

A broken window mural, Ellis Island Immigrant Hospital.

Rhododendrites, CC BY-SA 4.0, Wikimedia Commons.

We weren't expecting a knock on the door from our next-door neighbour on New Year's Day. It was pouring with rain, and said rain was pouring into the boot of our car, with the window smashed. Thanks for letting us know. Annoying, inconvenient and expensive. But just how expensive is a smashed window?

The 'broken windows theory', that visible signs of crime, antisocial behaviour and civil disorder begets more serious crimes, was introduced American sociologists James Q. Wilson and George Kelling:

'Social psychologists and police officers tend to agree that if a window in a building is broken and is left unrepaired, all the rest of the windows will soon be broken. This is as true in nice neighborhoods as in rundown ones. Window-breaking does not necessarily occur on a large scale because some areas are inhabited by determined window-breakers whereas others are populated by window-lovers; rather, one un-repaired broken window is a signal that no one cares, and so breaking more windows costs nothing. (It has always been fun.)'

This is not an academic theory. Where I live in London, i took the local council 1,315 days to replace a local resident's broken window. The sense of decay extends beyond borders, with fewer than half the residents thinking they live on clean streets, with rubbish and weeds gone unchecked. It is also one of the worst boroughs in London for varying types of crime, and over the past few years often being the worst. It's hard not to think the little things and the big things are linked. In other news, the now-resigned CEO of the council has pleaded guilty to drink-driving, failing to stop after a car crash and driving without insurance, and not guilty to possession of cocaine.

Our problems in society all found their greenhouses somewhere inside of us.

Crime is on the move. As homes have become more difficult to burgle, crime has been pushed out onto the streets with shoplifting and bike theft. The Economist recently reported that 'stolen bikes and e-bikes have also become the getaway vehicle of choice for thieves, according to the Merseyside police. In one way or another, some 80 per cent of acquisitive crime in Liverpool involves a nicked bike.' It's going to be fascinating to see the wider impact, but simply by stopping suspicious riders and marking thousands of bikes across Liverpool, reported thefts have fallen by 46 per cent between July 2023 and July 2024 compared with the previous year.

These problems can't be solved by overstretched police or the council. Everyone's responsible so no one's to blame. Practical implementations of the broken windows theory have not been without controversy. But for those of us who live in urban environments, to look out from our homes is to see a city of broken windows. The impact is more than weeds 'uprooting' pavements: it's an uprooted society. Correlation and causation might be blurred, but that's the point. In Christianity, sin is understood as having a polluting effect. Just as fossil fuels in China will pollute the atmosphere for someone in Scotland, sin is not hermetically sealed. Our problems in society all found their greenhouses somewhere inside of us.

Jesus said 'what comes out of you is what makes you 'unclean'. For from within, out of your hearts, come evil thoughts, sexual immorality, theft, murder, adultery, greed, malice, deceit, lewdness, envy, slander, arrogance and folly. All these evils come from inside and they make you 'unclean'.' They pollute our lives. And they pollute the world around us.

The Christian church, much like many institutions, is reckoning with prioritising competency at the expense of character. Little sins are not so little when they permeate and promote a culture where certain sins are permissible. Our fractures become fractal, breaking bigger and bigger windows.

All this sounds pretty bleak and Dickensian when of course there's always another city to see: full of life, vibrancy and joy. But we'd be wilfully ignorant to ignore the disorder of broken windows and broken lives all around us. It might overwhelm us, or our eyes might glaze over as we see those broken windows. But we'd do well not to ignore the broken windows within us too. For our sake, and the sake of our streets.

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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