Article
Creed
Mental Health
5 min read

It’s OK to be angry about this, right?

Anger's real gift is the desire for action.

Anthony is a theology professor at Seminary of the Southwest in Austin, Texas.

In a darkened room, a man's angry face is lit as he rests on arms folded tightly around it.
Abhigyan on Unsplash.

When is anger appropriate? When we hear of hideous acts of war in civilian villages, shouldn't we be angry? When I read about a shell exploding in a Gaza hospital, I get angry. I do also when something unjust happens to me, or to someone close to me. Some moments seem to call for anger as the right, and perhaps righteous, response.  

But I often don't feel very "right" when I'm angry. In fact, I feel a bit out of control, like some other force or energy has taken over my body and my will. This is especially true when my anger leads me to say or do something that is hurtful to someone else.  

Is there such a thing as Christian anger? If so, what does it look like? How can anger be the sort of emotive response that deepens, rather than erodes, my connection to God, myself, and others?  

It is the act, and especially the amalgamation of acts into habits, that leads to virtue or to vice. 

Anger is a passion 

The ambiguity of anger stems from its grouping within what Thomas Aquinas, here as usual following Aristotle, calls "the passions." A passion is a creature's reaction to either the loss of something or to a gaining of something. We are passive, or receptive, to this giving or taking. Sickness is a loss of health; sorrow is a lack of happiness. When on the other hand a friend sees me sick or sad and brings me a bowl of soup, I am receptive not only of the soup but of a passion, or a feeling—a receiving rather than a losing in this case— of pleasure.  

The passions are morally neutral: we cannot really be praised or blamed for being sad or pleased any more than for being sick. They often do, though, lead to actions, and this is where virtue and vice come into play.  

Love, for instance, is a passion: it identifies a desire within me, received through contact with something or someone beyond me. The act that this gives birth to might be virtuous: kindness or affection toward that something or someone. In these cases, the passion becomes the catalyst to the greatest of the theological virtues, caritas, or charity, translating the Greek word "agape", used by St Paul. It may also, however, be vicious, as when my desire leads to me to attack someone whom I perceive to be standing in its way (think “crimes of passion” here).  It is the act, and especially the amalgamation of acts into habits, that leads to virtue or to vice.  

Anger originates in such a taking or giving. Something or someone is taken from us, and we get angry: something that I perceive—rightly or wrongly—as belonging to or with me. Or perhaps something inappropriate (which literally means "not my property") is given to me which is not mine to have: a false accusation, say, or a punch to the jaw.  

When anger leads me to hurt someone as a result of that loss or addition, I commit sin. But sometimes it also leads to virtue. How does this happen?  

But this next act, as any parent or teacher knows, is likely not to be the right one. That's because I will be tempted to simply to act, rather than to seek counsel to ensure that I act prudently. 

Prudence is the virtue anger needs 

The key to understanding how anger about such losses or gains could lead to a virtuous, or let's say a righteous act, is in another virtue - the one Thomas calls prudence. Prudence is the form wisdom takes on within human practices. Its goal is wise action shaped by the particular context in which it is needed. The prudent person knows how to calibrate the next thing she does so that it leads will to the specific end she is pursuing.  

This "know how" in turn comes through counsel. I know the next practical step not because I have memorized formulas in right action, but because I can learn from others, past or present, in ways that will instruct me in the art of finding the next right thing.  

Prudence is the key to understanding righteous anger because anger is supremely a passion that demands activity. Anger wants action, as the therapists teach us. It pumps blood through my body, it makes my muscles flex and my jaw clench, and so prepares me for some bold and likely aggressive act.  

But this next act, as any parent or teacher knows, is likely not to be the right one. That's because I will be tempted to simply act, rather than to seek counsel to ensure that I act prudently. Most likely I will act out of a desire for revenge: to cause equal or greater harm. What I need in that moment is the outside input that can help me shape my act in accordance with reason. This is how, Thomas says, the neutral passion becomes meritorious passion: anger becomes righteous.

Righteous anger has a gift to give 

Anger's desire for action is in the end its real gift. Notice how anger and sorrow are different sorts of passions. In sorrow, what is taken from me is joy. I long for the lost joy and am tempted to become even more passive. Depression takes me to the zenith of inactivity. Even getting out of bed or calling a friend feels like too much action.  

Anger though is all about action. Yes, to act too brashly, too quickly, to seek revenge on the one whom I perceive to have harmed me. Or even to harm the nearest one to me regardless of their involvement (the sin of kicking a dog or abusing a child). Still: anger calls me to act, and for all its risky unhinged-ness, this is potentially a good thing. 

Disordered, which is to say un-counseled by practical wisdom, anger can lead to harm. In these cases we make matters worse by calling our anger righteous: that self-justifying claim may in fact be blinding us to the real price of our next act.  

But well-ordered, anger can draw us into deeper community with God, ourselves, and others. First comes the passion itself: I am angry and primed for action. Then comes the seeking of counsel, so that my desire for action can shift from the immediate to the prudently discerned. Finally comes the act itself, which anger was calling for in the beginning, now tempered by practical counsel. In such moments I am enacting a right and righteous anger.  

And on those days when a loss or an unwanted gain is enough to make me wish to withdraw from the world of human activity, anger may be just the gift I need.  

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.