Article
Assisted dying
Care
Comment
Easter
5 min read

I know who will be most affected by legalising assisted dying

Contemplating lent revives hard memories and raises fresh fears.

Ryan is an ordained Priest in the Church of England, currently serving in south London. 

A close up of a forehead bearing an ash cross marked on it.
Ahna Ziegler on Unsplash.

“What’s that - a face tattoo?” 

These were the words of one person as I walked past them on the streets on a recent Wednesday, with the ashes of last year’s burnt palm-branches placed across my forehead in the shape of the cross.  

The cross has been a symbol of hope for over two millennia; that even in the most painful of circumstances, darkness does not have the final say, including in death.  

As a society, we don’t really talk about death that much. Margot Robbie’s Barbie was the quintessential party-pooper when she pondered: 

 “do you guys ever think about dying?”. 

It’s no fun to dwell on death and dying, and for many of us, we put it off as long as we can. That all changed last year with the introduction of the assisted dying bill into the Houses of Parliament. Our national attention was, for a rare moment, captured by death.  

As a parish priest, I’ve seen the finality of burying someone into the ground. I’ve seen the sadness in the eyes of those trying to grieve. 

The words of Ash Wednesday, which remind us that we are ‘but dust, and to dust we shall return’ are echoed in the famous words that the priest recites in those last moments of burial, ‘ashes to ashes, dust to dust’. In that moment, amongst the bereaved, there is no escaping the inevitability of death. It is the ultimate statistic, 1 in 1 die. 

Whilst death is of course universal and will affect us all, the impact of this assisted dying bill could have consequences for some of the most vulnerable in society.  

As I reflect on my time as a Priest in East London, this is not abstract theory, but something I lived with each day. I served amongst a hugely diverse, vibrant, community in one of the poorest parts of the city. As I try to picture some the people I’ve walked alongside, I know it is these lives that will be most affected.  

One of the reasons I have concerns about the bill is the prospect of these people being coerced into ending their own lives prematurely, by a world that has already told them their lives are of little value. There are already huge disparities in access to the current provision of palliative care at the end of life, particularly amongst people of colour, the disabled and the poor.  

Of the 500,000 people who die each year, 100,000 do not access the care they need. This number is skewed towards ethnic minorities and those who come from poorer backgrounds.  

There is much confusion and misinformation about what end-of-life care even is. Research conducted by Marie Curie shows that 1 in 5 people from an ethnic minority background believe Palliative Care is actually Euthanasia.  

We only need to look at what has happened around the world when the ‘right to die’ becomes a duty to die. Even with the best of intentions, other jurisdictions show us that safeguards rapidly deteriorate and those who are already vulnerable become even more so.  

I worry that the way in which this bill is being handled - rushed through, little time being given to properly chew over the profound consequences it may have - reflects the wider way we view death. 

By trying to provide a ‘choice’ for a certain group of people, the consequence will be taking away real choice from those who already have little. 

Yet we know that for those who do access it, palliative care can be hugely effective in improving their quality of life, and for some, they can even outlive their prognosis. During Ash Wednesday’s service, I met an elderly gentleman who was diagnosed with stage four pancreatic cancer in 2019. He was told he had five months to live. He described every day of his six-year survival since as a ‘miracle’, his eyes filled with evident joy.  

Such a blessing stands in stark contrast to the lonely final days of my 96-year-old great grandmother. She was suddenly taken ill during the Covid-19 pandemic and was frantically rushed to a hospital. Amidst the chaos, exasperated by the restrictions against seeing family that were in place at the time, I distinctly remember confused conversations about placing her in a care home for her final days. It was clear she needed a lot of specialist attention, more than our family could provide ourselves.  As she was discharged to stay with our aunt, she never did reach that care home, as she died at home. She was buried in our local cemetery, with our family watching on Zoom.  

My final memory of my great-grandmother will be the FaceTime call we shared when she was taken to hospital, with the poor data connection and shaky picture. I am so grateful for the few family members who were able to be by her side when she died, but I’ve often wondered whether she fully received the care she actually needed during those final days, in the way she needed it.  

What my great-grandmother didn’t have a lot of at the end of her life was time.  

That’s also true for this bill. Concerns have been raised that only five hours of debate were given to this Bill in the chamber, comparatively short for a change in the law of this magnitude.  

I worry that the way in which this bill is being handled- rushed through, little time being given to properly chew over the profound consequences it may have- reflects the wider way we view death.  

Do we view death - and indeed the dying- as something to be shoved to one side, not spoken about in the hopes we can avoid its impact? Or do we view death as an important moment to review who and what matters most in life?  

Perhaps for some, the fact that Christians devote a period of 40 days to dwell on death may be one of the mysteries of faith. However, perhaps it’s not such a bad idea after all.  Death may bring with it fear, grief and pain and so we tend to avoid it. But do we risk missing out on much more? As we head into Easter, the cross still serves as a powerful reminder that, especially in death, Hope can be found, that Good has triumphed over evil, and Light shines even in the darkest of places.  

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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.