Article
Change
Identity
Joy
5 min read

Embrace those grey areas: they might burst into colour

Resist notions of black-and-white existence.

Lauren Westwood works in faith engagement communications for The Salvation Army.

A pile of folded knitted jumpers sit on a grey back ground, one is also grey, the others are red and brown.
Anna Evans on Unsplash.

All too often, the world demands us to be one thing, or to be another. In our responses, our ideologies, our beliefs, we are expected to be this, or to be that. In or out. Yes or no. Red or blue. Black or white. The world likes when we label ourselves with a certainty that makes us easier to market to, to capture in a strategic plan, or to reach in an algorithm. 

On a social level, these self-categorising definitions – what I believe, who I vote for, what I consume – can become a filtering system for who gets access to us, and who does not. In a combination of association and assumption, we decide who ‘our people’ are, and who they are not. And it seems straightforward. 

That is until you realise two things: most of life occurs not in the confines of black or white certainty, but in the grey, in-between area. And none of us are straightforward. 

After living through what was dubbed ‘the largest election year in history’ in a multi-national community, I can appreciate that a person is unlikely to experience uncomplicated commiseration or celebration. In the days following several of these major elections, I witnessed friends express disappointment, relief, uncertainty and acceptance in an exceptionally short span. 

We may like to believe that we are clear-cut individuals who hold easily defined, nicely organised ideas and beliefs, but the reality is far messier. Our attitudes, views and feelings are lightly tethered to a spectrum and, almost always, we find ourselves somewhere in the middle. 

Think about it. Can you remember the last time you felt sustained unadulterated happiness, without concern for something or someone lingering at the back of your mind? The reverse is true, too. I’ve known people in the trenches of grief to laugh out loud at their favourite Instagram reels. Typically, it doesn’t take much to drag us away from the highs and the lows of life. We are geared to live in the in-between spaces. 

Make space for all that occurs within the confines of what the world expects and accepts. To embrace the mess of the in-between. 

This pull we feel to the middle is not surprising. One of the early church leaders, Paul, said that ‘if anyone is in Christ, the new creation has come.’ We are new creation beings, surrounded by new creation ideas, in an old creation world. Our social constructs, systems and very lives are built on the premise of being somewhere in between the old and the new, a grey area of partly present and partly future. 

Paula Gooder, the New Testament theologian, says of Paul’s writing: ‘With Jesus’s death and resurrection, the new creation lies with the old creation. From time to time, you will see moments of perfection, moments of resurrection, and those are the moments that keep us going in the difficult time … Although you’ve got new creation lying on top, you’ve still got old creation lying underneath. If you want to ask the question of why the world is as awful as it is, it’s because we’re living in old creation.’ 

In embracing the Kingdom of God in being both now and not yet, we are engaging in an act of resistance against notions of black-and-white existence by living in a grey area that is fit to burst into bright, celestial colour. 

On the surface, the story that shapes our origins of existence, the creation narrative of Genesis suggests a God who works in binaries – night and day, land and sea. But we know that there is also the less easily defined twilight, dusk and dawn, marsh and mist. Creation itself indicates that living solely in duality is an impossible feat. After all, we weren’t made for separation, but for unity and reconciliation. All around us, the natural world witnesses to a God who created the things in-between and, like the setting and rising of the sun, he made them to be spectacular and captivating. 

In his criticism of Richard Dawkins and the new atheist movement, Terry Eagleton echoes the excitement that dwells in the in-between, writing that Dawkins ‘would seem to divide neatly down the middle between things you can prove beyond all doubt, and blind faith. He fails to see that all the most interesting stuff goes on in neither of these places.’ 

While certainty has its moment and its merits, I don’t think living in a grey area is a bad thing. In fact, I think we’d all be better off if we could get used to it. If, in compassion, we could assume that our neighbour, too, is occupying space in the grey area, floating somewhere between joy and sorrow, clarity and confusion, relief and pain. If, in humility, we could accept that we don’t always have the answers and grow comfortable with saying ‘I don’t know.’ If, in fairness to ourselves and to others, we could allow for the myriad of feelings between delight and distraught. 

In a world that not only expects polarisation but increasingly feeds it for profit of votes or views, this is a counter-cultural way of living. It is radical to acknowledge that our feelings, opinions and even our beliefs can rarely be defined as immovable. We are evolving beings and, as such, the stuff we hold in our minds and hearts today will morph and grow and potentially come to change tomorrow. 

Our lives are more than a sum of wins and losses, comedy and tragedy, old and new, black and white. So, as we stand at the beginning of this year, I implore you to make space for all that occurs within the confines of what the world expects and accepts. To embrace the mess of the in-between. To press on in the grey areas of life, only to discover it full, vibrant and glorious in new creation colour. 

 

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Review
Art
Culture
Joy
Suffering
4 min read

Carving joy and suffering – what Donatello’s sculpture captures

The pioneering sculpture of Donatello presents emotional urgency. Sara Schumacher reflects on his art.

Dr Sara Schumacher is Academic Dean and Tutor and Lecturer in Theology & the Arts at St Mellitus College.

A relief sculpture shows the Madonna hold the infant Christ close to her face.
Donatello's Virgin and Child (Pazzi Madonna) sculpture.
Donatello, CC BY-SA 4.0, via Wikimedia Commons.

As the weather turns and trees take on their sheen of green, with the seasonal change comes the major spring exhibitions in the nation’s museums. Running from 11 February – 11 June 2023, the Victoria & Albert Museum are hosting a significant exhibition of the work by the Renaissance master, Donatello. Donatello: Sculpting the Renaissance traces the sculptor’s life and career, introducing us to his artistic collaborators as well as tracing his legacy within Western art history. A summary of the exhibition has been well described elsewhere and the curators do a fine job of providing context for the viewer that allows one to understand the significance of Donatello’s work. Instead, in this article, I want to try and capture what is felt in what is seen for I think Donatello, in his subject matter and style, is able to hold in tension the paradox of joy and suffering. This paradox is an all-too-common human experience, something that has been explored as Christians journeyed together through Holy Week. While Christian theology has a way of helping make sense of why this paradox exists, art has a way of helping us all to process our lived experience of it.

Through sculpture in different forms, Donatello invites our bodies, through movement and posture, to engage with what or who is presented.

As the exhibition shows, Donatello is famous for being the first in the Renaissance to sculpt a free-standing form. Sculpture, especially free-standing sculpture, requires something of the viewer. In order to see it properly, you have to position yourself in relation to the work and move around it. And while Donatello was clearly a master at this artform, what he invented was rilievo schiacciato, meaning ‘squashed relief’. The stone or bronze is carved with only a few millimetres of depth. In a way, it is like ‘painting’ with stone or bronze, and in doing so, the two-dimensional and three-dimensional are fused. As you move around it, light refracts off the medium, thus highlighting different aspects of the work and changing what you see. Put another way, through sculpture in different forms, Donatello invites our bodies, through movement and posture, to engage with what or who is presented. This embodied connection can start to cultivate empathy as we place ourselves and identify with who or what we see.

The touch of human to human is so real at times that the bronze or stone seems to give way to soft flesh.

Donatello’s work also evokes empathy in the way that he sculpts the human form. In his work, the touch of human to human is so real at times that the bronze or stone seems to give way to soft flesh. This is at its most poignant in the multiple Virgin and Child sculptures displayed throughout the exhibition. And it is here, particularly in the Virgin and Child (Pazzi Madonna), where the paradox of joy and suffering is presented most evocatively.

It is not uncommon to see artistic renderings of the Virgin and Child where distance is held between the two forms. Sometimes, the child looks out at the viewer, away from his mother, inviting devotion through his gaze. In other depictions, the Virgin adopts a posture of worship before her son. The reason for this is theological: the visual divide was a way to bring to the fore the divinity of the human Jesus. However, what we find in the Donatello renderings is something different.

In the Pazzi Madonna, using his trademark schiacciato, Donatello presents a sculpture of emotional urgency. Instead of distance between Virgin and Child, we see a mother who has her face pressed up against her son’s. While the child has a look of contentment and the beginnings of a smile, the mother looks at her child with intensity, marked by sadness. While a worshipping Virgin indicated her awareness of her Son’s glorification through his crucifixion and resurrection, this face tells of a different knowing. The beginning of this child’s life is already marked by the end. And while the end will bring salvation to the world, the anticipation of the end brings suffering for the mother. Mary knows that her son, the one she has borne and is called to nurture into adulthood, will suffer on her behalf and on behalf of the whole world. It will be this suffering that she cannot stop or protect him from. And while the work tells of joy in the intimacy and tenderness between mother and child, this joy is held in tension with the suffering that will come from their respective acts of obedience. The worst that a mother could imagine for her child must happen because in that worst moment is, paradoxically, the hope for the world. Where their faces meet in this sculpture, joy and suffering are visibly held together.

What does it mean for us to press our suffering faces against the face of Jesus? As we look into his eyes of joy, how does that transform the way we see the world and our circumstances? The Christian story is one of hope. In the end, all things will be made right and there will be an end to all suffering and tears. And while we live with and through real pain, as we see with Donatello, we see that this human paradox can be held now for its resolution will come.