Column

Atheism

Creed

29 September 2023

6 min read

Confessions of an atheist philosopher. Part 6: making the leap

In her series’ final article, philosopher Stefani Ruper offers a new vision we all need.

Stefani Ruper

Stefani Ruper is a philosopher specialising in the ethics of belief and Associate Member of Christ Church College, Oxford. She received her PhD from the Theology & Religion faculty at the University of Oxford in 2020.

A skydiver in a space pressure shoot leaps from a capsule above the earth.

Felix Baumgartner leap set the record for freefall parachuting.

Red Bull Stratos.

Faith is irrational. Faith is against evidence. Faith is a threat to progress. Faith will bring about the downfall of civilization.

I used to think this, and I wasn’t alone.

In 2004 Sam Harris wrote that faith

“allows otherwise normal human beings to reap the fruits of madness and consider them holy.”

This quote appears in his book The End of Faith, which was on the New York Times bestseller list for 33 weeks.

Fellow pop atheist AC Grayling says that faith

“directly controverts canons of intellectual integrity…’Faith’ is not a respectable or admirable thing; having been so long paraded as a virtue and worthy of respect, the truth is otherwise… it is irresponsible, lazy, and too often dangerous.”

The real danger

When I was about 20, I realised that I had dismissed faith as irrational without ever engaging it. I had prided myself on open-mindedness while at the same time refusing to hear what people of faith had to say. This struck me as deeply hypocritical, so I went to seminary. I asked religious people about faith. I studied what theologians and philosophers said about it. I did this for about twelve years.

In this time, I confirmed my earlier belief that there are extreme examples of irrationality and close-mindedness in religion. Of course there are! But there are extreme examples of irrationality and close-mindedness in secularism, too. The danger isn’t “faith.” The danger is what I used to do: over-simplifying and reducing one another to easy targets so we can tear each other down.

Faith, I now know, looks very different to many people. Some forms of it are healthier than others. Some are toxic.

But after more than twelve years of study, I’ve come to believe a specific way of defining or practicing faith is not just acceptable for our society but crucial. I consider it the answer to many of our shared needs--especially for more love, generosity, justice, resilience, progress, and hope.

It's this:

a choice.

Faith is a choice.

Our society is unique among all societies that have ever existed. It is the first society where we must choose: to trust and believe just a little bit, or to distrust and believe nothing at all.

This is what “don’t believe” looks like:

Distrust. Stick to the “bare facts” of physical reality and science. Live as though there is no possibility of any dimensions existing beyond material reality as we understand it today.

There is no Creator, no ultimate love, no ultimate home. There is only the here and now. When you die, nothing happens.

I subscribed to this option for thirty years because I thought it necessary to be loyal to the truth. I thought that being a good person meant resisting the temptations of faith. I felt proud of myself for bravely accepting the emptiness of the world. But it was poor consolation.

Another reason I followed this option was because I—like most people in our culture—had a deeply rooted habit of suspicion and distrust. Authorities of all kinds have so routinely deceived and disappointed us that most of us live habitually expecting to be attacked, hurt, let down, duped, used, manipulated, and misled. We must always expect there’s a trick behind any promise. Every offering has a catch. We subconsciously live by the slogan “it’s too good to be true.”

This predisposes us to experiencing a specific kind of harm: when we anticipate being hurt, we often hurt ourselves first so that we get to be in control of the pain. For the first thirty years of my spiritual journey, part of my resistance to God was that I was so afraid of finding out He didn’t exist I never let myself take seriously the possibility that He might.

Here’s what “believe” looks like:

Trust. Take a look at your options and say “yes,” to the better one, the one rich in possibility and hope and light.

Embrace the possibility that there are dimensions of reality beyond our imagining that we cannot see or touch. Embrace the possibility that your story may be a part of some larger story. Embrace the possibility that what you do matters ultimately, and is a part of the great unfolding of a narrative beyond your comprehension.

Do this with lightness. Have a bold vision, but let a part of that boldness be its ability to change and grow. Trust the community of spiritual seekers all around the world. Hold all your opinions as hypotheses, and seek to refine them in community with others as different from you as possible.

Open yourself to the possibility that you might be able to experience the love of God and walk into greater peace, joy, resilience, and generosity than previously.

Responsible faith

Harris and Grayling say faith is belief against evidence.

However: faith can be deeply evidentiary. Done right, faith never contradicts evidence or quality reasoning. Indeed, to me, faith means being loyal to every scrap of evidence, including any that God may provide us, and constantly revising my views of everything.

There are two kinds of evidence for transcendent beliefs: intellectual evidence, which includes historical, archaeological, and philosophical reasons to believe (or not to believe), and experiential evidence, which comes from believing in God and seeing what happens.

For each of us, experiential evidence is personal, but we can, and should, always talk about our experiences with others. We should get feedback, compare, and learn from one another. I consider my experiences to be data points for God, but I’m open to being incorrect.

Faith of the sort I’m advocating doesn’t mean putting your head in the sand. It means walking simultaneously with trust and with your eyes wide open. It means embracing your own limitations and learning to delight in being proved wrong or revising your perspective.

The obligation to have faith

Many people come to faith in God through a major religious experience. They have a sudden shift. They go from skeptic to Believer with a capital “B” seemingly overnight.

That is not how it’s worked for me. I decided to see if I could believe. When I first set out to cultivate faith, I didn’t believe anything at all.

Why did I do it?

I had one very specific reason: it would make the world a better place.

I already knew that belief in God was reasonable, and that God might exist. I already knew that I could get evidence for God if I dared to believe a little bit first.

But what convinced me to finally try believing was an argument William James makes in his essay Is Life Worth Living? He says:

if there is something you can believe in that is reasonable, and that will make you either a happier or better person, or both,

then you are not just licensed, but obliged to believe it.

Not just licensed, but obliged. Believing in God was not just reasonable but would also make me more of all the things I always wanted to be: more joyful, more peaceful, more generous, more resilient.

Thus, I was facing a dual realization:

God might be real, and

Trying to see if I could believe—that is, intentionally opening myself to God’s potential presence in my life—would be an act both of exploring truth as well as making me a better person.

Put like this, the next step for me was obvious:

Do it.

Choose faith. Choose trust. Take a chance on God, and see what happens.

That was eleven months ago now, and I can honestly say it was the best thing I’ve ever done. My belief is far from certain, but it doesn’t have to be—indeed, in some ways it shouldn’t be.

I just keep saying yes to trust, and my heart is lighter and more free than I ever imagined possible.

Taking a chance on God

The secular poet Mary Oliver once famously asked us:

“What will you do with your one wild and precious life?”

What will I do? What will you do?

If faith means taking a chance on God and seeing what happens – and in doing so stepping into lives of greater peace, joy, resilience, and generosity, together –

What are any of us waiting for?

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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