Article

Creed

Idolatry

Sport

2 March 2024

5 min read

Idols or idiots? Why sporting stars cannot bear the weight we place on them

Why it’s wise to know their place, and ours, in the universe.

Graham Tomlin

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

A professional footballer wearign a red top stands proudly beneath a white and black banner.

Marcus Rashford's Who I Really Am video.

The Players' Tribune.

I wouldn’t know, being a fairly average but enthusiastic player of many sports - but the life of a top footballer must be one of extremes. There are the physical sacrifices to be made in hours in the gym, honing skills in daily training, pushing your body towards fitness, maintaining the tuning of your body so it peaks just at the right time on match day. On the other hand, there is the boredom of afternoons after training with little to do but play FIFA 23 on the X Box, or finding ways to spend the vast amounts of money that comes to the average Premier League footballer.

But perhaps even more, there is the way the public treats you. You swing between idol or idiot pretty quickly. Take Marcus Rashford. Last season, he could not stop scoring - 30 goals in 56 games for Manchester United & England, including three at the World Cup. Confidence was sky high, he was making the runs and finding the positions that enabled him to rack up the goals. This season, it has all changed. He seems listless, lacking in confidence. At the time of writing he has only scored five goals all season, (Erling Haaland has scored 17, Mo Salah 15). Every move or sign of body language is dissected by pundits or on social media, and he is no longer a sure starter for his club – an unheard of possibility last season. And there was the famous bender that he went on in a night out in Belfast a few weeks ago - a sign that something somewhere is wrong.

We have always tried to turn sports stars into idols. George Best was perhaps the first truly global, fully marketed star with a public image, idolised by both football fans and women (at the time, the two groups were much more distinct than they are today). Until, that is, his spectacular fall from grace. Soon after he reached the pinnacle of winning the European Cup with Manchester United in 1968, the descent began. He went out too much, lost his focus, made bad choices, left United and after various haphazard spells with a slew of clubs across the world including Fulham, Stockport County and the San Jose Earthquakes (yes, even them), he become a professional playboy, unable to control his alcoholism, appearing drunk on TV chat shows, being jailed for drunk driving until his tragic early death aged just 59 in 2005.

None of us are capable of taking on the worship of others, because we will always disappoint in the end.

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The ability to do things we ordinary mortals cannot do inevitably leads us to idolise such people. Crowds perform the lowering of outstretched arms in semi-mock worship. Encomiums are written in the media on the extraordinary talent on display. Hopes are invested that this person will lead their club or country to sporting immortality.

Yet at other times, they are vilified as idiots. The David Beckham Netflix documentary series is a salutary reminder of the astonishingly vindictive public treatment he received after getting sent off playing for England in the World Cup Quarter Final against Argentina in 1998. Perhaps now, with our increased awareness of mental health, the reaction would not be so vile, but the treatment of the England players who missed penalties in the Final of the Euros in 2020 warns us against too much complacency.

If you’ve ever met a sports star in the flesh and spent any time talking to them (I’ve met a few) what strikes you is how ordinary they are. They may be shy, awkward, embarrassed - a bit like the rest of us, They may be able to perform physical feats that you can’t do, but I bet there are things you can do that they can’t, and that they wish they could do. Your talents may not be so much in demand and not attract as much financial reward, but just like you, they have their fears, anxieties, weaknesses and quirks. As we learnt from Netflix, David Beckham can’t go to bed without cleaning every surface in the kitchen and having his shirts lined up in colour co-ordinated rows.

Sports stars are neither idols nor idiots. They are people. People who enjoy praise, so that it can go to their heads, but get hurt when they read vile things said about them. None of us are capable of taking on the worship of others, because we will always disappoint in the end. It is why Christian faith is so insistent on the danger of idolatry in all forms – taking something created by God and making it into a god. Theologian James KA Smith warns of the danger for a culture that has given up on God: "it is precisely when your ultimate conviction is that there is no eternal that you are most prone to absolutize the temporal." As St Augustine put it, paganised cultures tend to take created things and turn them into idols, and idols always disappoint, or even worse enslave.

A vital part of Christian wisdom has always been to know our place within the universe – that we are called to the dignity of taking responsibility for, exercising a kind of benign dominion over the rest of creation, looking after it and caring for it on behalf of the Creator. Yet at the same time, we are ‘a little lower than the angels’ and certainly less than God. We are not self-created, free to rise as high as we can, aiming for the stars.

On my regular journey into London some while ago, I used to pass a primary school that promised prospective parents that with the help of their teachers, there was ‘no limit to what your child can achieve’. It’s that kind of empty rhetoric that is so dangerous – it is bound to lead to a sense of disappointment when your beloved offspring doesn’t become a hot-shot lawyer, a brain surgeon, a wealthy banker or a sporting hero, but ends up serving behind a till in Tescos, or nursing the sick in a hospital, even though these jobs are just as valuable and essential for society as the better-paid ones. However gifted we are, there are things we cannot do, and will never do. All of us are frail vessels, with remarkable abilities, whether physical, social or intellectual, with the capacity for extraordinary acts of love and compassion, yet also liable to give into temptation to lie, cheat, or steal, as likely to let down our friends as much as to be loyal to them.

Knowing our place in the world would stop us exalting our sporting heroes too high, or lambasting them as so low – raising them to heaven, or sending them to hell – that was never our job but God’s. It would restore them as not idols or idiots but people – loved sinners if you like – with a high calling and remarkable abilities, yet with moral frailties and feebleness at the same time – just like us.

Review

Art

Character

Creed

Easter

Suffering

18 April 2025

5 min read

Why sculpt the face of Christ?

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

Jonathan Evens

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…?”

A sketch shows the hanging head of Christ wearing a crown of thorns.

This Storm Will Pass, 2024. Slademore Gallery.

A crucifix hands on a round-topped slab.

I Paid, 1993. Slademore Gallery.

Crown of Thorns, 2025. Nic Fiddian Green.

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.

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