Article
Belief
Creed
Generosity
Spiritual formation
4 min read

Love Island: 'thanking the universe’ makes no sense

The universe doesn’t even know you exist, so don't waste time thanking it.

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

A Composite image of Love Island contestants stand together in a group under a fiery heart.
ITV.

I don't watch Love Island, but maybe I should. A friend noticed something odd happening on it recently. Contestants often seem to credit 'the universe' with something happening. The universe has been thanked; it’s been used to bring solace to those unlucky in love (i.e. ‘the universe has your perfect woman lined up to enter the villa’ ); it’s been ‘prayed’ to, even.

I read a moving article about a mother some while ago, reflecting back on the difficult birth of her now teenage son, filled with a sense of gratefulness for the sheer gift of his life. Her words were simple: “As my son turns 16, I thank the universe his fraught birth is only a memory.”

‘Thanking the universe’ has become a common trope these days, maybe because people feel they can no longer thank God. Being thankful, of course, is a good thing, and gratitude is the subject of significant scientific research. Numerous studies have shown the beneficial effects of a grateful approach to life. It helps people live longer, sleep better, reduces toxic emotions like regret or resentment, and builds self-respect. By consciously being grateful for ordinary things – a roof over their heads, clean air to breathe, or a kind word from a friend, people who were previously dogged by resentment and grievance about the way life had treated them have found it possible to express appreciation of others, let minor insults pass and negotiate successfully with tricky neighbours.  

Gratitude is the ability to recognise good things in our lives that we didn’t create. It reminds us that we are not the makers of our own good fortune.  Saying a simple ‘thank you’ turns us outwards, away from a sense that we deserve the good things that come our way.  It contradicts any idea that we are somehow self-sufficient, helping us recognise that we are thoroughly dependent on factors beyond ourselves for most of what makes our lives enjoyable and fruitful.  

All the same, there is something odd about being grateful to an impersonal object - like a tree for standing, a river for flowing, or, for that matter, to the universe itself, especially when we usually think of that universe as blind and indifferent. Bob Emmons, a Professor of Psychology in California points out an important distinction between gratitude and thankfulness. We tend to be grateful for something, but thankful to someone. We often talk about life or a particular talent as a ‘gift’, but for something to be a gift, it really needs to be given by a giver. Something that is not deliberately offered can’t easily be seen as a gift.  

Imagine finding a bunch of flowers in the street outside your home, dropped by an absent-minded shopper. Then imagine a similar bunch of flowers given to you by a friend who knew you needed cheering up. Which would mean more? Which is really a gift? You might be grateful that the lost flowers exist and are sitting in a vase on your kitchen table, but they would mean so much more if they were a gift from a friend. Gifts which come from a giver, deliberately chosen, and personally given, mean so much more than things which would just happen to be there. 

While a sense of gratitude can be psychologically beneficial, something even better happens if we learn to see everything we have as a gift from a giver, rather than a fortunate accident, or mere chance. 

A gift we receive is never ultimately about the gift – it’s about the relationship established between us and the one who gave it. 

The practice of giving thanks in Christian prayer is rooted in the idea of Creation - that the world around us is not here by chance but is a gift from a God who made it. It therefore changes the way we look at that world. The simple discipline of saying grace before a meal transforms the food from a random plate of meat and veg into a sign of love and provision for our needs. Thanksgiving reminds me that the tree outside my window doesn’t just happen to be there, but is a gift from a heavenly Father who made it and gave it, at least in this moment, to me as the person observing it right now. As G.K. Chesterton once put it: “If my children wake up on Christmas morning and have someone to thank for putting candy in their stockings, have I no-one to thank for putting two feet in mine?”  

We often say it’s the thought that counts. If that’s true, then if there is no thought behind the thing we receive, then somehow, however good it is, it means little. A gift we receive is never ultimately about the gift – it’s about the relationship established between us and the one who gave it. Gratitude is better than greed, but if there is no-one behind the things we enjoy, then what we have is not really a gift. To put it bluntly, the universe doesn’t care about you. It doesn’t even know you exist. So, thanking it makes no sense whatsoever.  

If, however, behind the gift, there is a Giver who gave us what we needed, or even more than we needed, whether or not we deserved it, that gift becomes something much more significant. That gift – friendship, food, forgiveness and much more, becomes a token of love – a sign that despite everything, there is a God who made us, thinks of us, and even beyond that, gives himself for us at great cost, an even deeper reality than the gift itself. 

 

A version of this article originally appeared in the Times 

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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.