Article
Creed
Football
Leading
Sport
6 min read

Even the best have their limits: Jürgen Klopp’s lessons for life

A famed football manager’s resignation tells us a lot about human nature.
A football manager stands on the touchline and stares hard, dressed in a black coat and hat.
Klopp faces the future.
Liverpool FC.

10.36am, Friday 26 January 2024. A video is posted by Liverpool Football Club. It’s an interview with Jürgen Klopp himself. They only do this if it’s something big. Maybe he’s going to extend his contract at the club? Maybe they’ve found a replacement hamstring for Mo Salah?! 

“I will leave the club at the end of the season.” It is an absolute gut punch, and the sentence hits me like a truck. A feeling of shock washes over me. I’m reminded of a video of a young lad in Liverpool in 1974 being told Bill Shankly has resigned. He is in complete denial and just flat-out unable to accept the truth of the matter. Fifty years later, at 10.36am on Friday 26th January 2024, I am that young lad. This can’t be real. He’s not really going. This is one of those AI-deepfake things. Jürgen’s not leaving. Is he? I knew this was coming, but I didn’t think it would be so soon. I’m not ready.  

My mind is chaos, and I am a mess of contradictions. My wife is out and the only other person in the house I can talk to is a cat who does not understand the gravity of the situation. All too quickly it becomes painfully clear that this is real. He is leaving. And soon

The seeming mundanity of Klopp’s decision to leave, and his reason for doing so, speaks to his own philosophical nature.

When I return to reality, more questions emerge. Why is he leaving? Is he okay? Has he been offered a better job? Has he been sacked?! “I’m running out of energy,” he says. Jürgen Klopp, manager of Liverpool Football Club, has the best job in the world, is outstandingly good at it and, at only 56, feels as though he doesn’t have the energy for it anymore. What a thought. Surely there has to be more to his leaving than this? It can’t be that simple. 

But no; it really is that simple. It’s something unheard of in modern football. Jürgen hasn’t been sacked for poor results; Liverpool are flying at the moment and, at the time of writing, could still win every competition they’re in. He hasn’t been offered another job somewhere else; he says he won’t manage anywhere else for at least a year. He just hasn’t got the energy to do this anymore. Despite what everyone at Liverpool wants – himself included – he feels it’s the right time to acknowledge that he has simply reached his limit. He can do no more. 

Jürgen shares many similarities with the pantheon of great Liverpool managers, of which he is now a part; the likes of Bill Shankly, Bob Paisley, Kenny Daglish, still sung about on the kop to this day. One characteristic, however, strikes me above all others.  All of Liverpool’s greatest managers have been deeply philosophical, both about football and about life itself. Klopp is no exception. The seeming mundanity of Klopp’s decision to leave, and his reason for doing so, speaks to his own philosophical nature. It also speaks to something seldom noted about human nature more generally: our finitude.  

There is goodness in finitude. Our creaturely limitations remind us that we are not God; our finitude reminds us that we come from infinitude. 

By finitude, I mean our inherent limitations are created beings. Put bluntly, one day, we will die. We are finite, not infinite. This finitude is an inalienable part of being human: to be human is to be limited rather than limitless. We encounter our finitude at all moments of our lives. In our need to sleep, rest, eat, drink, and so much more besides. Any moment at which we are not wholly self-sufficient (if we are ever wholly self-sufficient), when we rely on something beyond ourselves, we are faced with our own finitude. 

This finitude can certainly lead to difficult moments (like, for example, having to watch one of your footballing heroes suddenly announce he’s leaving your club). But despite this, there is goodness in finitude. Our creaturely limitations remind us that we are not God; our finitude reminds us that we come from infinitude. It reminds us that we need those around us and, in turn, that they need us. These are good things to be reminded of, that we always live in a complex web of dependence on one another, as we navigate our finitude together.  

Jürgen’s resignation is such a shock because it speaks directly to this often-unnamed aspect of our nature; this inter-dependence we all rely upon due to the limitations built into our human nature. He has simply recognised his finitude. It comes as such a shock, in part, because it is rare to see someone acknowledge their humanity and their limitations so plainly. Jürgen is running out of energy. Aren’t we all? 

It is also striking, as the UK endures the slow run up to what is likely to be an unedifying general election, that when faced with his own finitude, Jürgen has sought not to consolidate his own power and position, but freely to give it up. He could have had the run of the place for as long as he wanted. If he had asked for a life-time contract, few would have wanted to say no. This is part of what makes him such a compelling leader; his willingness to vacate positions of leadership when the time is right. Because it is this very vulnerability that makes him so authentically human. 

In the end, then, it is an act of love from Jürgen. Clearly the decision has weighed on him somewhat; he is clear that he doesn’t really want to go, but that he feels it’s the right thing to do. Faced with his own finitude, with the limitations of his own creatureliness as a human being, the most loving thing he can do for the club is to walk away, to admit his human fragility. There is something reminiscent here of the apostle Paul, who claimed he would boast in his weaknesses, because that was how Christ dwelled in him. “Whenever I am weak, then I am strong”. Jürgen, too, a devout Christian himself, has displayed immense strength in his weakness. I do not speak lightly when I say it is a deeply Christ-like decision on his part. 

To acknowledge our dependence on others, to acknowledge our inability always to be dependable; these things are acts of love born from recognition of our finitude. To love one another is not to pretend we can fix each other’s problems, nor is it to avoid being a burden on other people. In depending on others and being depended upon, we become more and more like that which God has called us to be: finite, limited creatures in need of those around us. Our limitations are an opportunity to display love, not a hindrance to it. 

In all this, Jürgen acknowledges his own finitude in a way that is rare to see and, clearly, difficult even for himself fully to come to terms with. Like Jürgen, we are all running out of energy. This need not be a cause for sadness; it merely points us towards the one from whom that energy comes and reminds us of our dependency on Him, and on those around us. Our finitude is a gift, releasing us from the burden of being all things to all people. I still wish Jürgen was staying, though. 

Review
Art
Character
Creed
Easter
Suffering
5 min read

Why sculpt the face of Christ?

In Nic Fiddian Green’s work we feel pain, strength, fear and wisdom.

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…?” 

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.