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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Explainer
Creed
Leading
Politics
6 min read

Why is it taking so long to find an Archbishop of Canterbury?

The Anglican tortoise and the Catholic hare.

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

An archbishop raises a crown about the head of King Charles.
An archbishop in action at the 2024 Coronation.

It seems the Roman Catholics have put the Anglicans to shame by the speed with which they have managed to appoint a new Pope. Pope Francis died on Easter Monday, 21 April. Pope Leo was elected on the 8 May. Seventeen days. Pretty impressive. Very few large corporations would replace a CEO in that time, or nations elect a new leader.  

Justin Welby, however, resigned on the 12 November 2024. We won't know the name of his successor until the autumn, and that person won't start in place until the spring of 2026. Well over a year.  

The Church of England is playing the tortoise while the Roman Catholics are acting the hare. 

So why is it taking so long? Is this just fusty Anglican bureaucracy? A depressing instance of Anglicans taking ages over everything, whether sorting out our divisions over sexuality or choosing a new Archbishop? 

As always, there is more to this than meets the eye.  

The first thing to say is, of course, that events took everyone by surprise. Justin Welby would have had to retire before his 70th birthday in January 2026, and the assumption had been that he would announce the date at some point before then. A process was already in place to make the appointment so that a successor could be named before he departed and start soon after, as usually happens. No-one foresaw the events that led to Welby’s surprise resignation over his handling of the abuse committed by John Smyth, outlined in the Makin Review. In the usual course of things, there would have been a relatively smooth handover. What we have is unprecedented – a year with no Archbishop of Canterbury at all.  

There is, of course, the shambles at the Canterbury end, where the diocese has taken three abortive goes at electing their representatives for the body that makes the appointment, the Crown Nominations Commission. More on that here, but even that has not had a significant effect on the timetable, which is following its predicted course, despite bumps along the way. 

Even so, many will say, could the system not have been hurried up? Maybe so, and it might have been wise to find ways to hasten the process a little, but the more fundamental answer is that’s not the way the Church of England works and never has.  

The biggest reason is that the Church of England and the Roman Catholic churches have different understandings of what the Church is and how it is governed. In short, the Archbishop of Canterbury is not the Anglican equivalent of a Pope. 

Back in the days of the English Reformation, after Henry VIII’s ego-driven separation from Rome, which enabled him to divorce his wife who was unable to give him a male heir, and marry the younger and prettier Anne Boleyn, the English church found a kind of settlement under Queen Elizabeth I, several generations later. This proposed that the ‘Supreme Governor’ of the Church of England was not to be the Archbishop of Canterbury but the Monarch. It was a way of expressing the idea that the Church of England is the Church of the people of England. It was the people of England at prayer. ‘We hold,' said Richard Hooker, the great architect of this vision, ‘that… there is not any man of the Church of England but the same man is also a member of the commonwealth.’ 

If you are a citizen of England, you have a right to be also part of the Church of England – to have your children baptised (once the vicar is sure you know what you’re letting yourself and your child in for), your marriage solemnised, and your body buried in the national church. The Church - although in a local sense is gathered group of Christians who attend public worship - exists for the people of England, whether or not they go to church regularly or not. 

Because the Church of England is the church of the people of England, a much larger group of people need to be involved when an Archbishop of Canterbury is chosen. So far, there has been a wide period of consultation, involving the remarkable figure of 11,000 people who have given input – far more than most consultations of this kind. Moreover, the group that appoints the Archbishop is made up, not just of bishops, but lay people, priests, men, women, people representing the diocese of Canterbury, five representatives of the global Anglican Communion, others representing the national Church and so on.  

The Church of England in that sense, is no respecter of persons, and refuses to treat the Archbishop as a Pope or a CEO.

For Roman Catholics, the church centres much more around its bishops. So, when it comes to choosing their leader, it makes sense to simply put all the cardinals (the most senior figures in the Catholic Church) in a room until they come up with a name from among themselves. Anglicans have a much longer, messier, more democratic process. It is not an election by a majority vote from a small electorate quickly convened, choosing among themselves, but a process of listening to a wide range of voices, both inside and outside the church.  

Because he is not a pope, the Archbishop of Canterbury is in one sense, just another bishop (the next one may be a woman, but all Archbishops so far have been men). Yes of course, he’s an Archbishop, so higher profile than the others, but he is nonetheless a bishop who takes his place among the other bishops of the CofE. Archbishops of Canterbury are regarded with respect and honour by other CofE bishops and Archbishops around the worldwide Anglican Communion, as the (Arch)bishop of the first ‘Anglican’ church – Canterbury. Yet they have no legal jurisdiction at all outside England – or even outside their own Province of Canterbury in the southern half of England. He is not the ‘spiritual leader’ of Anglicans all over the world, like the Pope is for Roman Catholics.  

As such, to put it bluntly, his appointment must take its turn among all the others in the queue. The Crown Nominations Commission is made up of people for whom this is not their day job, who give their spare time to it, and who have a programme of episcopal appointments to be made - the next in the queue are St Edmundsbury & Ipswich and then Worcester.  Canterbury has to take its turn. To enable this one to jump the queue would be saying something that Anglicans have never said - that this role is much more important than any of the others and must be given special treatment. The Church of England in that sense, is no respecter of persons, and refuses to treat the Archbishop as a Pope or a CEO, without whom the church would fall apart. 

The reason the Church of England can survive without an Archbishop of Canterbury for a while, is because its life is not dependent on a central figure, a charismatic leader, or a head office which issues instructions for all the branches to obediently follow. That may work in McDonalds but doesn’t work in the Church of England. The life of the Church of England is in its parishes and dioceses, which carry on doing their thing, even when an Archbishop of Canterbury is not available.  

Of course, it might have been possible to speed it up a little. We have missed having an Archbishop speaking in to public life and providing a lead at the national level. But there are good reasons for taking time. And it’s not just inefficiency – it’s because the Church is made up of ordinary Christians, who all deserve a say – and that takes time.  

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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.

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