Article
Belief
Creed
Economics
5 min read

The insane economics of Jesus

Does he even know about inflation, budget fights, and mutual funds?

Mockingbird connects the Christian faith with the realities of everyday life.

A still from The Chosen shows Jesus and the disciples around a table
Splitting the bill?
The Chosen.

Written by David Clay. This article first appeared in Mockingbird, 11 November 2025. By kind permission. 

Having evolved into a month-long monstrosity of various parties and trunks-or-treats, Halloween has left my daughters with an absurd surfeit of candy. It’s enough to keep several dentists in business. Even so, my children still fear the annual imposition of the dreaded “dad tax,” which they argue is illegitimate due to their lack of representation. My kids have long since learned that no matter how impressive their hoard of candy, it always runs out eventually. 

What seemed like an abundance the night before is revealed to be limited supply. In other words, my children are always shocked to discover scarcity. 

Most people for most of history produced about enough to keep themselves alive. The Domesday Book (1086 AD), a survey of England commissioned by William the Conqueror, shows that peasants (i.e., people with limited or no land ownership rights who were beholden to a local lord) made up 95 per cent of the population. While peasants in some cases achieved prosperity, this was the exception to the rule of subsistence labor, usually agricultural in nature. For almost everyone, the possibility of starvation was anything but theoretical. 

In that respect, the situation in early medieval England was little different from that in first-century Palestine. There as well, nine out of ten people made just enough to survive — and, sometimes, not even that much. Both Josephus and the New Testament mention the mid-century famine (44–48 AD) that devastated Judea. There was no social safety net in that time and place. People could and did starve to death. 

It was to people permanently conscious of scarcity, then, that a certain self-styled rabbi — until very recently a day laborer himself — said, 

“Do not be anxious about your life, what you shall eat or what you shall drink, nor about your body, what you shall put on. Is not life more than food, and the body more than clothing? …  But seek first his kingdom and his righteousness, and all these things shall be yours as well. Therefore do not be anxious about tomorrow, for tomorrow will be anxious for itself. Let the day’s own trouble be sufficient for the day.” 

Jesus’ audience would have agreed that provision ultimately comes from God. But “don’t be anxious about tomorrow”? In a world where starvation is always just a bad harvest away? Jesus, with a straight face, is instructing his audience to live as if abundance, not scarcity, is the ultimate reality in life. Not for the first time, he seems more than a little disconnected from what it’s actually like to live on this planet. 

Insofar as some of us moderns in industrialized societies are a little less worried about starving or dying from exposure, this is thanks to human ingenuity (thank you very much) coming up with ways to radically increase our productivity. An undeniably magnificent achievement — but also one that’s exacerbated other forms of scarcity. 

Think, for instance, of the “attention economy,” the battle to secure ever-shrinking attention spans. The very computational tools that have made our contemporary standard of living possible have also hooked us up to a constant pipeline of far more information than we could ever possibly process. So much so that the act of paying attention, seemingly a basic feature of being human, is valued at an increasing premium. 

Or, consider time. The mid-twentieth-century economist John Maynard Keynes speculated that automation and enhanced productivity would naturally result in less stress and more leisure time. What he did not foresee is that increasing productivity increases expectations of how productive we should be. Time, in all times and places, is the ultimate “vanishing asset,” but the proliferation of time-management strategies and gadgets tells us, I think, that time seems even more limited when we are expected (or expect ourselves) to hustle and grind. 

I don’t think it’s much of an exaggeration to say that scarcity is the single most pressing reality in human experience. In some form or another, this is true of every human culture. We combat scarcity with the urge to simplify, to streamline, to do more with less, to find life hacks, or invent new technologies. 

Jesus, however, tells us to ignore it. Or, at least, to behave as though scarcity is not that interesting or important. God feeds the birds and clothes the lilies; you’re more important than a bird or lily to God; ergo, God will take care of you. Stop stressing. 

This doesn’t feel aspirational or inspirational. It feels insane. I have a mortgage. I have three girls to put through college. I need money, energy, focus, and time, not the bizarre exhortations of some mystic. Does Jesus even know about inflation? 

But the weird thing is that, yeah, he does. Jesus is very much not detached from the realities of everyday life in his time and place. He is up on current events like collapsing towers and the machinations of Herod Antipas (“that fox,” Jesus calls him. Not a compliment). He seems a little bored by politics, but he’s definitely not naive about the power structures and major players in Galilee and Judea. He makes a conniving, dishonest middle manager the hero of one of his stories. Politics, taxes, sectarian violence, collapsing infrastructure — the Gospels describe Jesus interacting with a world very different than our own, but one that’s still immediately recognizable. 

The difference is that I tend to think of inflation data, budget fights, geopolitical maneuvering over scarce resources, and supply chains as “the real world,” while the kingdom of heaven is something lovely but also a bit airy, a little insubstantial. Jesus saw things in exactly the opposite way. The kingdom is Reality, while the lords of the gentiles, the payment of taxes, even the pressing daily concerns for food and clothing, are all fleeting or at most secondary. And the kingdom is abundant, for its King doesn’t give stones when his children need bread. 

What does it mean to live as if abundance and not scarcity is the final word? I don’t know. What I do know is that what really feels insane, some days, is thinking I can conserve enough time, money, energy, focus or whatever else to build a life in which I find fulfillment or peace. There are cracks in my no-nonsense, economically rational world that beckon me to ask, what if I have no money, time, energy — nothing but my daily bread — only to find that I already have all I need? 

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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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If you enjoy Seen & Unseen, would you consider making a gift towards our work?
 
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