Article
Character
Ethics
Generosity
Leading
5 min read

Elon Musk and the trillion-dollar question

What happens when generosity becomes the ultimate power move?

Sam Tomlin is a Salvation Army officer, leading a local church in Liverpool where he lives with his wife and children.

Elon Musk, in front of a glowing moon.
Musk eclipsing the moon.
Musk Foundation.

Human beings like to mark the first time things are done. The first moon landing has been immortalized; Amelia Earhart was the first woman to fly solo over the Atlantic; my football geekiness reminds me the first £1m football transfer was Trevor Francis from Birmingham City to Nottingham Forest. 

We leant recently that Elon Musk could be the first person to earn a $1 trillion remuneration package. It is not quite that simple, however, with Tesla shareholders only granting this if certain conditions are met over the course of a number of years, but the media like a good headline and seemingly this will contribute another ‘first’ for the history books. Reports suggest that Musk actually lives a fairly modest life (for a billionaire!) and he seems more driven by political and moral questions than securing a lavish lifestyle for its own sake, whether you agree with him or not. 

Questions have arisen about what could be done with $1 trillion. Apparently, this could buy every single car sold in the USA in a year, 175 billion big macs or if you are more philanthropically minded, you could surely make a dent in world hunger or global debt. If we are waiting for a big give-away from Musk, we might be waiting a while, however. In 2022 he said that it is ‘very hard to give away money effectively’ if you want tangible outcomes rather than the optics of doing good. 

What does Christian teaching have to say about excessive wealth or wealth more generally? There are over 2,000 verses in the Bible about wealth and a significant amount of Jesus’ teachings concern money. 

In his book Money and Power, theologian and sociologist Jacques Ellul suggests Christians tend to look at wealth through the lens of their society. In the West this means we look at it through economic systems. Individual action achieves little by itself so we look for systems to fix our problems, be they capitalism, Marxism, collectivism, or whatever: ‘All I have to do is campaign for socialism or conservatism, and as soon as society's problems are solved, I will be just and virtuous – effortlessly.’ As well as absolving individuals of their responsibility, this also fails to capture a key aspect of the Bible’s view of money: its personal character. Looking at wealth through economic systems assumes money is just a ‘thing’ to be used for good or bad and something about which we can approach with cool neutrality. The name Jesus gives to wealth is ‘Mammon,’ which he contrasts with God: you must choose to serve one or the other. 

Mammon is described as an agent or power from which we need to be liberated. Some Christians argue that the liberation of salvation allows them to hold onto wealth because they can possess it without being possessed. This is the standard view of wealth in the Western church. Christians have largely lost any collective sense that accumulating wealth might be a problem probably because we live in a society where our economic model relies on our greed and consumption. 

Why does Jesus say we have to choose between serving God and mammon? Quite simply because it cuts to the heart of where we put our trust. The repeated question of Bible is: where do you put your trust? In the chariots of princes, in alliances with other nations, in the health of your bank balance, or in God? Money provides the opportunity to direct the course of our lives to a significant degree. Most Christians in the West will sing about fully relying on God when in reality we put our trust in money which allows us to determine where we live, the friends we have, the very trajectory of our lives. 

This, I suggest, is the essence of the Bible’s teaching on wealth or Mammon. Even before arguments based on giving to alleviate poverty (which are far from unimportant) the question of wealth is intrinsically linked to belief that God can be trusted or not. It is not impossible to be wealthy and faithfully follow God. It is also possible to be materially poor and far from God. It is a smaller step, however, to faithfulness and the Kingdom of God from a simple life than from one of abundance and control that money gives you. When you have little, you have little other choice than to rely on God. Trust and lack of human control are literally built into the fabric of your everyday life in a way that is alien for those who live with more than they need. Learning to trust God therefore will come more naturally as it is a pattern that is familiar. 

This is not to romanticise poverty. I am a Salvation Army officer and see the crushing reality of debt, addiction and need on a regular basis. William Booth, co-founder of this Christian tradition once said, “It is impossible to comfort men's hearts with the love of God when their feet are perishing with cold.” 

In light of this, there is an act which strips the power of money more than anything else according to Christian teaching, and that is giving. It is more blessed to give than receive, says Jesus. The reason this is the case is the same for anything that can take control of our lives, be it sex, power, status or whatever. By giving we show Mammon its rightful place: service of God and humanity. If we are prepared to give something away it does not have power over us. This is why Christians consistently give portions of their income away to their church; on top of this many give to charities and/or store a pot to give away spontaneously as God leads. While it is not mandated for all, a number of notable Christian figures in history have felt a call to give the majority of their wealth away as a sign of their own freedom: St Francis, Melania and Pipanius, Leo Tolstoy to name but a few. Giving is good for the soul in Christian teaching. 

I am not an economist and don’t claim expertise on the efficiency of grand systems to alleviate the world’s problems. Despite the inherent unease at the prospect of such vast inequality represented by Musk, simply projecting all of society’s ills onto others absolves us of our complicity in inequality. From a Christian perspective maybe Musk and any of us who store up more than we need in barns as Jesus puts it, can be reminded that giving robs wealth of its tendency to ensnare and control, and this freedom can be enjoyed right now. As Paul reminds the Christians in Galatia: ‘It is for freedom you have been set free, do not let yourselves be burdened again by the yoke of slavery,’ by which Mammon and other distractions long to trap us. 

Support Seen & Unseen

Since Spring 2023, our readers have enjoyed over 1,500 articles. All for free. 
This is made possible through the generosity of our amazing community of supporters.

If you enjoy Seen & Unseen, would you consider making a gift towards our work?

Do so by joining Behind The Seen. Alongside other benefits, you’ll receive an extra fortnightly email from me sharing my reading and reflections on the ideas that are shaping our times.

Graham Tomlin
Editor-in-Chief

Review
Art
Culture
5 min read

Genesis Tramaine: the painter whose faces catch the spirit

New York's expressionist devotional artist

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

AN experessionist painting shows a face with a large open smile and many eyes.
Oh! Ye’ Faithful, 2024
Almine Rech.

Genesis Tramaine begins her presentation as part of the McDonald Agape Lecture in Theology and the Visual Arts 2025 by singing ‘Amen’, a gospel song popularised by The Impressions in the 1960s. Her presentation about her art is essentially an act of testimony, such as might be given in a Southern Baptist Church in the USA. 

Tramaine is an expressionist devotional painter from the US who is deeply inspired by biblical texts and whose work is held in permanent collections, including the National Gallery of Art in Washington DC. The large expressionist heads she paints are not representational portraits but expressions of spiritual energies and forces within the person, often inspired by and showing biblical figures and saints, as well as church people, family and friends. 

She speaks about having met the Gospel before meeting God, as she attended a strict Southern Baptist Church while growing up. She drew from the back of the church and also wrote thoughts and impressions in notebooks. She says that she loved church but that it fell out of place in her life as she grew up. 

One day, far from home and needing help, she called her Nana on the phone, who said to seek first the kingdom of God. She found quiet in herself and prayed more, finding herself in conversation with herself. On one occasion, disturbed, she couldn't sleep and was experiencing physical manifestations. At this time, she says, she saw all of herself and surrendered to God. In the morning, she read Matthew’s Gospel - seek ye first the kingdom of God. 

The words in the Bible started to make sense to her as a story reading itself to her and she began drawing faces. Her Bible had white images of Christ and Mary, so the words didn't match the images, and this was a spur to paint the women and children of the Bible revealing the beauty of black women in particular. She read the Bible in the King James Version, stopped trying to fit in and found the strength to play with and disrupt narratives. The tools and materials to do this were all one’s that she found in the Bible. 

Eyes are our organ of vision, so faces sporting dozens of eyes are those which, like the saints, achieve the greatest insight into the true depths of reality. 

Her current exhibition at the Consortium Museum, Dijon, France, is entitled Facing Giants’ and addresses these issues head-on. She has said of the exhibition: ‘I think it’s important that you paint a real narrative, an honest reflection. I don’t think [my saints] look like saints as they have been given to us...[those] were false narratives. The images of saints that we know and that are projected at us are all white with blond hair—and we all know that that is not true.’  

She has explained that: ‘These are biblical saints who have faced giants whether those giants are actual giants or giants like fear, love, acceptance or non-acceptance, the giants of facing God and not being accepted, giants of judgments… those who have sat in the mud, if you would, and found a way to persevere. And I wanted to spend as much time as I could with those energies and those narratives, as a tool of self-encouragement and as a tool of encouragement for others.’ She feels these energies literally, speaking of entering the room where she paints with a sense of a whole other people - silent saints – being present with her when she is at the canvas.  

While Tramaine emphasises the inspiration of the Holy Spirit in her work, critics have noted her stylistic closeness to graffiti art and she herself has explained that she was familiar with graffiti in her childhood in Brooklyn. Eric Troncy, Director of the Consortium Museum, relates her work stylistically to the expressionism of George Condo, Jean-Michel Basquiat, and Willem de Kooning. Tramaine, though, speaks of other influences including Sister Gertrude Morgan, Romare Bearden, and David Hammond. In the McDonald Agape Lecture, she spoke of Hilma af Klimt and Jack Whitten as inspirations, as well as gaining inspiration from the significance of the Iyoba Idia of Benin in Nigerian culture. 

One of the distinctive features of Tramaine’s portraits is the plethora of eyes that often feature. Eyes are our organ of vision, so faces sporting dozens of eyes are those which, like the saints, achieve the greatest insight into the true depths of reality. Some more recent images have also featured a plethora of open mouths and teeth. Troncy writes that: ‘Her figures, it seems, have started to smile. To shout, perhaps; to sing—why not?; and to talk—most definitely.’ 

This is interesting, in part because, when I asked her in an earlier interview about her influences, she began by speaking about her love of gospel music, including that of Jonathan McReynolds and Le’Andria Johnson. She says this Jesus focused music ‘encourages me to praise from the depth of my soul; to paint, let go and trust from that space’. While she’s ‘not quite sure what happens’ then, ‘Black folk say I catch the spirit’. She speaks of losing time as you paint, saying that you can't be present when painting as you have to trust yourself to the process, surrender, and play in the space. 

This is, in part, why she began her McDonald Agape Lecture presentation by singing. 

Her testimony is essentially simple, direct and profound: ‘I've wanted to be an artist since I was a child. I took my prayers seriously, which means I began to develop a relationship with Jesus Christ, my Lord and Savior … I asked God if I could paint and pray, help and give, as an offering of service for the rest of my life. And the paintings began to mature. I committed to the relationship that painting offers spiritually, in Jesus’ name.’ 

Support Seen & Unseen

Since Spring 2023, our readers have enjoyed over 1,500 articles. All for free. 
This is made possible through the generosity of our amazing community of supporters.

If you enjoy Seen & Unseen, would you consider making a gift towards our work?
 
Do so by joining Behind The Seen. Alongside other benefits, you’ll receive an extra fortnightly email from me sharing my reading and reflections on the ideas that are shaping our times.

Graham Tomlin
Editor-in-Chief