Explainer
Belief
Creed
5 min read

I believe in breadboards: cutting through the meaning of belief

A turn of phrase leads Andrew Steane to consider what we say and what we really mean when we say we believe in something.

Andrew Steane has been Professor of Physics at the University of Oxford since 2002, He is the author of Faithful to Science: The Role of Science in Religion.

bread a piece of cutlery rest on a breadboard
Photo by Caio Pezzo on Unsplash.

On holiday with my family around Easter this year, we rented a small cottage and went self-catering. This is a lovely way to enjoy a week, heartily recommended by me, at least. 

As anyone who has done it will know, one of the standard experiences of the holiday house is the search of the kitchen for the items you need at mealtime. This year I was looking for a breadboard. You know: a flat wooden board on which to cut a loaf of bread. There did not appear to be one. But there were two marble boards which were plainly cutting boards. I then made a remark to my dear companion and wife Emma, I said, 

“I think maybe the owners don’t believe in breadboards”.  

This turn of phrase came quite naturally to me. It is a way of speaking that has been common in England for a long time, though it is less prevalent now. As I say, this way of speaking has a long history and it is not about abstract questions of existence. It is about practical questions of usefulness. If someone says:  

“I believe in breadboards”  

it does not mean  

“there is some doubt as to the reality of breadboards, but I think they are real.”  

What it means is:  

“I think breadboards are useful; I think they help; they are a Good Thing.”  

If someone says: 

“I don’t believe in breadboards”  

it means:  

“I don’t think we need breadboards; they don’t help; we can cut bread another way.”  

I am interested in this way of speaking because I am interested in what is going on when Christians recite, as many do, the summary statements called creeds, which mostly begin with the phrase “I (or we) believe in God, the Father almighty, creator …”. 

I’ll come back to that in a moment. Before I do, let’s note some other ways in which the phrase “believe in” can be used. Sometimes someone may ask “do you believe in ghosts?” The question arises because ghost stories are strange and hard to verify and the very notion of a ghost is questionable, so the question is asking “do you think there is in fact any such thing as a ghost?” It is asking, “are ghosts real?” 

And there are other contexts in which statements about belief might be made. Suppose a group of soldiers is cut off after an advance by opposing troops, and they are in doubt as to the way back to their own front line. Maybe the captain is advocating a choice which seems wrong to the private soldiers. They might debate among themselves. In this case, when putting into words his judgement on the matter, a soldier might find himself using the phrase, “I believe in the captain”, or, as the case may be, “I don’t believe in the captain.” Again, it is not a statement about whether there is a captain; it is a statement about whether trust in this particular captain is well-placed.  

Now imagine a more homely scenario which has played out in many a household over the years. A daughter is telling her parents about her boyfriend. Perhaps the parents are not quite sure about this young man. They do not know him as well as their daughter does. They want to trust her judgement, but they are hesitating. Is our dear child perhaps a little blinded by infatuation?  

What might the daughter say to explain how she feels? Having happily listed the boyfriend’s other good qualities, she might choose to add, “and he believes in me.” What does she mean by that? Is it that there is some doubt as to whether she exists, but the young man thinks she does? Of course not. What she means is that she feels that her friend knows her well enough to see her as she really is, and he affirms what he sees. He affirms that she has something to offer; she herself and not some other person or some other version who is not truly her.  

There is a related experience which I have had many times with Emma. When faced with a decision about raising small children (what time should they go to bed? When can they go out on their own? etc.)  I have often had the great boon of being able to say to myself “I believe in Emma.” What it means is, I think she has a lot of wisdom and good judgement on this issue, so I don’t need to agonise on it for too long; she has very likely already found a good answer.  

Belief is much talked about in life more generally of course. There is the notion (quite dubious I think) that if you “believe” then you can realise whatever hopes and dreams you may have. Sometimes people speak of “belief” when what they really mean is hope. I won’t go into all these usages. The main point of this article is to say that if, in the context of a Christian gathering, you are invited to join in and recite a creed beginning with the phrase “We believe in God” then you do not need to make it function as an abstract statement about reality and existence, the way the question about ghosts functions. This is because “We believe in God” can function much better as a statement about practical helpfulness, like the statement about breadboards.  

We Christians believe in God the way we believe in breadboards. We believe in God the way we believe in the good judgement of a close companion. It means we think our life as a community will go better if we pay the right kind of attention to our ultimate context, and the values and possibilities which are held there. We do not use the word “God” to refer to an airy being who might not exist. The word is, rather, a short (arguably too short) way to direct our attention. Our attention is drawn to those aspects of reality which can rightly and properly command the loyalty of a good and wise person. We don’t pretend to completely know what those aspects are.  But we want to learn. Our gatherings and our creeds help us to acknowledge and embrace this ultimate context more fully. 

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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