Review
Art
Culture
5 min read

Matthew Krishanu: painting childhood

Portraying family, memories and counterpoints.

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

a painting shows Bengali celebrants of a Eucharist.
Preaching, Matthew Krishnau, 2018.
Peter Mallet.

The Bough Breaks by Matthew Krishanu at Camden Art Centre has been described as the most significant exhibition of his work to date because, by showing the drawings and works on paper that he calls the generative heartbeat of his work as well as the works for which he is best known, the exhibition is the fullest expression to date of the expansive world of his artistic practice. 

His images are primarily personal stories told through layers of memory, imagination, and conversations with the history of painting, in atmospheric, pared-back compositions which focus particularly on his childhood years in Bangladesh growing up with his brother, and their parents who were a British Christian priest and a Bengali theologian.  

He speaks of his images in terms of an ‘I-you-them‘ axis. The work he considers his first painting, from 2005, entitled ‘Boy on a Bed’ was originally a scene of an empty room. He recalls that “late in the night before I was going to be exhibiting it, I sketched in this boy with black hair, brown skin, and a little toy car behind him”. He continues, “I knew that was me, and I knew that there was something I wanted to communicate about the inner world of that child”. In 2012, there came another “fundamental shift” in that “I wanted to paint myself and my brother”. With the first ‘Two Boys’ painting, “I remember it felt like worlds had opened up”. He explains that “when you have a single child, you can project ideas of melancholy or loneliness” but “when you have two, they outnumber the single viewer” and “I think the fact that they are clearly brothers and both have brown skin and often a very direct gaze at the viewer, holds a certain power”. 

He recalls being in a show called Painting Childhood: From Holbein to Freud where the very last room was of the ‘Two Boys’: “Having gone through room after room of European children, white children, then coming into a room where these two boys weren't othered in any way, but were taking centre stage in the narrative, was hugely important.” 

Adults are excised from the ‘Two Boys’ series “because I want the boys to be out on a limb or up on a hill, without parental supervision”. However, within the ‘Mission’ series - paintings of church life in Bangladesh - adults are seen from the perspective of children. As a result, they are in the ‘them’ part of the axis: “I see the adults in the third person. I'm constructing them as in some way other to the child's eye. This brings in the strangeness of performance and ritual, the stiffness of it too, particularly when you're used to being barefoot on the ground in Bangladesh and, suddenly, are meant to sit still and quiet. For me, it was compounded by the fact that I was brown skinned, as was my brother and mother, and my father was white skinned, and he was a priest, and he was a man, and all the power that comes with being a white man in Bangladesh; just the way he is perceived by his congregation, and even strangers on the street.”  

He recalls that: At the time I knew that wasn't right and I didn't like the depictions of God as this white man flying around the sky. As a child, you have quite a raw and immediate relationship to life and nature and spirituality and, for me, it was the religious art that was the fundamental barrier to entering the world of the church. Also, the gendering of ‘Our Father’ or Jesus, the ‘only son’. That's why, as a young teen, I decided I didn't want to be confirmed, because I didn't believe in that construction.” 

‘For me, that is where my faith is, in love, in the love of family, in all that a baby calls upon us to give it.’ 

Matthew Krishnau

In a painting like ‘Preaching’, he is exploring what it is to centre, in a congregation of brown adults and children, “the four nuns and my mother preaching with the two female candle holders and have the men on the sides”. So, “It's all about constructing a world which is both a counterpoint to the world of the two boys and nature, but also a counterpoint to the religious hierarchy we see in the church now”. The ‘Holy Family’ series, “which is of Bengali nuns, priests, and bishops” “is a deliberate response to the white depictions of Christ, baby Jesus, and Madonna”. 

He notes that: “It's part of my painting mission to offer a counterpoint on the widest possible framing of an ‘I-to-you’ axis of a brown child, which isn't seen through the lens of National Geographic or Comic Relief ‘white saviours’, but is taken and centred as the heart of a human story. And if there's any spiritual message, then it's about that; of love, of the divinity of children and babies, and the divinity of our beautiful world, the ecological world of trees, water, glorious sunsets and sunrises, and all that comes with the human form.” 

He thinks that this show has “set up a kind of a world philosophy” for him: “The core, the heart of the show, for me, is family, particularly of my late wife and my daughter. In and amongst the drawings, there are some pictures of our baby, and my late wife holding our baby or, indeed, holding the tree that my daughter is climbing. For me, that is where my faith is, in love, in the love of family, in all that a baby calls upon us to give it. That is the closest thing to divinity. I won't even use the word God because it's too masculine in our language. The closest thing to the divine, I sincerely believe, is in the eyes of children, is in the eyes of babies, particularly.” 

He concludes by saying he would love to expand his practice further in the future, noting “a figure that has really resonated in a way I haven't felt before is the Palestinian priest Revd Munther Isaac and his ‘Christ in the rubble’ sermon”. However, his art always “needs to come from a personal connection to something I've conceptually explored; it needs to have that heart first of immediate one-to-one human connection”. 

 

Matthew Krishanu: The Bough Breaks, 26 April - 23 June 2024, Camden Art Centre, London.

Editor's pick
America
Culture
Leading
Politics
8 min read

Molly Worthen on the charismatic leaders of America's cosmic drama

The plots and plotters that hold us spellbound

Nick is the senior editor of Seen & Unseen.

Viewed from behind, Trump raises a fist.
Trump on the stump.
White House via Wikimedia Commons.

What happens when Americans lose faith in their religious institutions—and politicians fill the void? In Spellbound: How Charisma Shaped American History from the Puritans to Donald Trump, Molly Worthen sweeping history helps us understand the forces that create leaders and hold their followers captive. 
 
Everyone feels it. Cultural and political life in America has become unrecognizable and strange. Firebrands and would-be sages have taken the place of reasonable and responsible leaders. Nuanced debates have given way to the smug confidence of yard signs. Worthen asks just how did we get here? 
 
Worthen, a historian argues that we will understand the present moment if we learn the story of charisma in America. From the Puritans and Andrew Jackson to Black nationalists and Donald Trump, the saga of American charisma stars figures who possess a dangerous and alluring power to move crowds. They invite followers into a cosmic drama that fulfils hopes and rectifies grievances—and these charismatic leaders insist that they alone plot the way. 

Author and historian Tom Holland loved this book.  

“The great story of charisma in American history, from the Massachusetts Bay Colony to MAGA, has never been more thrillingly told, never more learnedly explicated.” 

In this extract, entitled Plotlines, Worthen introduces her four categories of charismatic leader: Prophets. Conquerors, Agitators, and Gurus.  

Plotlines

Over the past several years, whenever I told friends or family that I was writing a book about charisma, they responded with a reasonable question. Which charismatic figures would I include? They peppered me with suggestions: What about Elvis Presley, or Dolly Parton? Michael Jordan or Muhammad Ali? Surely I had to say something about Taylor Swift, right? 

None of these fascinating people appears in this book. As you read it, you will probably think of a dozen others whom you wish I had included, and I’m sure you’ll have a point. I have mostly stuck to individuals who worked to build a movement in organized religion or politics, rather than musicians, artists, or athletes. Even within the spheres of religion and politics, I’ve been selective in order to craft a manageable story and bring into focus the patterns and transformations of charismatic leadership over the course of American history. 

Sometimes this is an inspiring story, because charismatic leaders often turn up—and people decide to follow—out of a desperate response to alienation and injustice. People in anguish seek a savior. Yet charisma has no fixed moral standing. It can carve a path to freedom or to enslavement; it can lead people to embrace the rule of law or to sneer at it. Charisma causes problems for democracy as well as for authoritarian regimes. Without a sustained analysis of charisma over the long haul of American history since European settlement began, we are doomed to bumble along, blandly observing that ordinary people declare many allegiances that seem to contradict their own material interests and sabotage democracy—but never understanding why. 

Over the past four centuries, five types of charismatic leaders have surged to dominance, each offering a variation on the great paradox, a different way for followers to hand over control while feeling liberated. I use these categories both to classify leaders and their movements, and to chart historical change: each type reacts to the type that came before, and responds to the pressures and anxieties of its own era. Like all typologies, this one maps imperfectly onto real people. Almost no one is a “pure” example of these categories, and some leaders are interesting precisely because they react against their age’s dominant type. But these categories have compelled even leaders who defied easy labels—that’s most of them—to respond to the ascendant charismatic style of their age. 

The Prophets take us from the end of the Middle Ages into something beginning to resemble our own world. They drew on ancient patterns of contact with the divine to challenge authorities and captivate followers with the terror and ecstasy of God’s presence. They hewed close to tradition, operating in a time when Old World strictures still constrained life in the New World rather tightly. But some used those traditions to undermine reigning institutions, whether by violent rebellion or illicit gatherings—and so provoked a backlash. If the Prophets conceived of freedom in terms of divine salvation, they often harnessed mystical power for this-worldly ends. Usually this meant dismantling any structure that stood in God’s way. 

The Prophets were, essentially, destroyers. In their wake they provoked an age of builders. 

The Conquerors rose to prominence in the early nineteenth century—an age of mythology, mass media, and frontier enthusiasm in the European American imagination. They swung away from the age of the Prophets, who had so much to say about how powerless humans are. 

Some of the Conquerors wielded military power, but all of them pursued what we might call metaphysical conquest. They fought to control spiritual forces. As the predestinarian Puritanism of earlier generations lost its appeal, more people placed an almost fundamentalist faith in the power of free will. It was tempting to think of spiritual forces—perhaps even the Holy Spirit— as a kind of technology, ready for manipulation. The stakes in these campaigns were high at a time when new advances in science impinged on everyday life. Waves of immigration made the country more religiously and ethnically diverse. Americans felt both freer and yet more confined than ever before. 

The Agitators gained sway at the turn of the twentieth century, protesting modernity as a raw deal and democracy as tyranny in disguise. The Conquerors had, overall, expanded government authority over Americans’ lives and advanced a golden idea of progress. Now the pendulum swung back toward calls for destruction. The Agitators found a market for attacking the state and denouncing so-called progress as a lie. They defined themselves as outsiders whether they were or not, and discovered that gaining material power does not mean that one must stop telling a story of exile and affliction. This proved to be an important lesson in an age of world war and economic disaster: global crises have a way of transfiguring an outcast dissenter into a credible threat tot he standing order. Meanwhile, Christians grew wilder in their displays of New Testament charisma—because, paradoxically, it was easier to grapple with what Max Weber called the “iron cage” of modernity by embracing ever more outlandish signs of divine power. 

The Experts were, on the face of things, the Agitators’ opposite in charismatic style. They were builders. In the wake of World War II, they capitalized on a backlash against the nightmare years of fascist demagogues, embraced the zenith of traditional institutions’ authority across Western culture and politics, and nurtured Americans’ faith in the power of technology and bureaucracy to solve large-scale problems. 

They claimed the mantle of reason and procedure and did their best to relegate the political or religious clout of charisma to the distant past or primitive cultures. 

But in fact, the three decades after World War II witnessed an explosion of religious revival in America—led by Christians who spoke in tongues, looked for the end times, and claimed to heal through the power of the Spirit. Even in the domain of credentialed and supposedly secular healing, the line between medicine and spirituality grew fuzzier. These years were the Experts’ apogee of cultural prestige, but Americans’ long- standing ambivalence about intellectual elites persisted. The most successful leaders capitalized on those mixed feelings. They nursed the tension between the Cold War celebration of science and freedom and, on the other hand, the lurking sense that technological leaps obscured eternal truths and needed the organizing power of a good story. 

By the end of the twentieth century, as Americans lost faith in established media, churches, government, and nearly every other bulwark of modern society, the destructive strain of charismatic leadership re-surfaced in the form of the Gurus: preachers of self-actualization and get-enlightened-quick schemes, promoting God’s new temp job as personal assistant. Old-fashioned Pentecostal revival persisted too, but its leaders struggled to prevent the culture wars from capturing the Holy Spirit. 

The Gurus looked, at first glance, like the Prophets and the Agitators. But in the generations since those earlier eras, it had become harder to pay obeisance to tradition—which was just fine, since the erosion of institutions had weakened traditions anyway, and opened a path for Gurus to achieve more influence than their destructive predecessors. Religious and philosophical tradition, in the hands of the Gurus, was no longer a firm guide but a palette for painting illusions of independence. Sometimes they used it to depict a new reality impervious to fact-checkers. 

“Guru,” which means “remover of darkness” in Sanskrit, was originally a religious term. But in the third decade of the twenty-first century, the most prominent guru in the country was a businessman named Donald Trump. Trump was not, personally, a paragon of conventional religious devotion. Yet his political career depended on a hunger among his most dedicated supporters that can only be called spiritual. Like so many relationships between charismatic leaders and their followers, it stumped and angered those on the outside. Against the backdrop of the American charismatic tradition, however, his success makes perfect sense. 

How, then, did early modern mystics and Puritan heretics who heard the voice of the Holy Spirit give way to devotees at a modern presidential rally, jostling toward the candidate iPhone-first, praying for a selfie? By the early twenty-first century, most religious institutions in the West had declined into husks of their former authority—at least by the usual measures. Today commentators turn more than ever to materialist explanations for political dysfunction, polarization, and the culture’s general crisis of confidence. They cite growing social inequality, impassable disagreements on policy, persistent racism and xenophobia, evil automated forces lurking on the internet. All true—yet all insufficient accounts. If we define the religious impulse as a hunger for transcendent meaning and a reflex to worship, then it is a human instinct only slightly less basic than the need for food and shelter, and Americans are no less religious than they have ever been. They will always find a way to satisfy these desires, even if charisma carries them down strange and costly paths. 

 

Spellbound: How Charisma Shaped American History from the Puritans to Donald Trump, Penguin Random House, 2025.