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.’ 

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Article
Belief
Creed
Leading
Politics
5 min read

Let's keep hope weird, Zack

Amid growing grief for the future, the Greens' leader is calling for 'ordinary hope'

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

Zack Polanski walks down an alleyway
Zack Polanski returns to Manchester.
The Green Party

The recent Green Party’s political broadcast has been praised for its emotional clarity, moral urgency and a call to action that has seen party membership surge.  

Looking down the lens, recalling his years growing up in the north of England, party leader Zack Polanski sighs,  

“There was something in the air… a kind of ordinary hope.” 

As he walks through a typical British city, filmed in Manchester, lined with terraced houses and bright-white lights beaming over takeaway shops and industrial bins, he diagnoses the collective hopelessness of a ‘people too tired to fight, to sleep.’ 

In just under four minutes, Polanski disarms objections to his cause with a sensitive, poetic script. He opens by referring to the common experience of a satisfying bowl of cornflakes – before plainly illustrating the socioeconomic injustice facing the everyman. He then makes the case for fair wealth taxation, and closes with the cheery challenge:  

‘Let’s make hope normal again.’ 

It’s a compelling appeal that resonates with those weary of cynicism. But what does it actually mean? 

I don’t call this to question because I don’t actually want good things for our country. I do, desperately.  

To be clear, I call this to question because I desperately want good things for our coutnry. Warm homes, clean air, safe streets and an NHS that works for all – I believe these things should be normal. But I’m not sure I want to normalise hope. 

Because real hope is weird. 

Hope is not to be confused with optimism, or good prospects, or a positivity about the future reserved for the privileged. It’s not increased with social mobility or sitting comfortably in a five-year plan. Hope is not even the belief that things will get better. Real hope is much truer than that. It is a deep knowing that all shall be well, even when that seems foolish – a glance through the ancient literature of the Bible points to hope as singing in a prison cell, relief in the wilderness, resurrection in the face of crucifixion. 

As NT Wright, the theologian, puts it: ‘Hope is what you get when you suddenly realise a different worldview is possible, a worldview in which the rich, the powerful, and the unscrupulous do not after all have the last word.’ This kind of hope doesn’t waiver with the housing market, interest rates, or inheritance tax. It’s not the result of good policy or strong polling. It’s the stubborn belief that love wins – and has, in fact, already won – even, or especially, when it looks like all is lost. 

This is where Polanski’s got it right. There is a present and growing grief for the future. Across the UK, millions feel disengaged, disrespected and undervalued. Distrust of politicians, division in communities and loss of faith in the systems supposed to be for our benefit seem to be at an all-time high. 

Polanski’s call to hope comes at a time when a redeemed order seems impossible or, at best, several generations away. But, instead of accepting the kind of ‘ordinary hope’ Polanski experienced back in his youth, the answer to our deepest longing lies in realising we need something extraordinary to happen and knowing that we’re allowed to believe that it will. 

We don’t need to be desensitised to hope – we need the opposite. We need to be reawakened to everyday glimmers of redemption – the neighbour who pops by for sugar and stays for a safe conversation, the health worker who acknowledges a former patient with a grateful smile, the family whose fear is soothed by the kind gesture of an elderly white neighbour – and recognise our share and our part in bringing it on, believing there is yet more and better to uncover. 

Polanski is incredibly perceptive in his address to the concerns of the hard-working plumber and the fledgling hair salon owner, nervous that their hard earnings and ambition will be cut short: ‘I wondered, “Why did they think I was talking about them?” And now, I get it. It’s because it’s too hard to picture.’  

Hope, too, is hard to see. A better world is hard to imagine. Though Polanski is advocating for a public reform and reimagination of what it means to be taxed, our souls are capable of the sudden realisation that another way is possible. We can experience life-altering revelation that leads to fresh vision, both for what is seen and for the yet unseen. 

For the Christian, hope is not some far-out abstract concept, but a gift made real through belief in the life, death and resurrection of Jesus Christ – a Middle Eastern man who walked the earth two thousand years ago, held no title, had no place to lay his head, and called himself the Way, the Truth and the Life. See? Real hope gets weird. 

Instead of being content to accept an ordinary hope – made small, palatable and unremarkable – we can embrace hope as it was designed. A liberating reality that brings steady assurance to every thought, every reaction, every decision and, yes, every vote. This confidence comes not because we are sure of our own rightness, but precisely because we are not. We submit to its mystery because a hope that we can control, mediate and measure will never lead to the transformation we most long for. 

Do I long to see an increased hope for the future across the UK? Of course. But do I believe we should ever grow accustomed to hope? I don’t think so. We need contagious hope – wild and holy and strange, anything but normal. 

Tax the super-rich so that children can eat, parents can sleep, and ordinary people can be lifted out of extraordinary poverty – but let’s keep hope weird. 

Support Seen & Unseen


Sice 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
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