Essay
Creed
Eating
7 min read

The meaning of meals

Food is the nexus of relationships. Matthew Croasmun notes that food, and all created things, are most themselves when they are more than merely themselves.

Matthew is the author of five books including the New York Times bestseller Life Worth Living: A Guide to What Matters Most (with Miroslav Volf and Ryan McAnnally-Linz). He is an Associate Research Scholar and the Director of the Life Worth Living program at the Yale Center for Faith & Culture.

Around a table, against a backdrop of fret-cut wood, three people talk and listen to each other with great interest.
Inside Lina Ghotmeh's À table pavilion at the Serpentine Gallery.
Serpentine Gallery.

This summer’s Serpentine Pavilion in Hyde Park, À table, designed by Lebanese architect Lina Ghotmeh, invites us “to the table.” The extraordinary, long tables ringing the pavilion invite us to a meal and to conversation. To connect with one another and with the Earth that sustains our lives.  

Ghotmeh’s invitation is an important one, if we have ears to hear. Through seeing what meals are, what they ought to be, and what they invite us to imagine, we discover what we are and what we ought to hope for.  

Meals help us understand what we are. We can sometimes rush past questions about our materiality. Attending to meals won’t allow us to do that. Food, after all, is fundamental to life. We are what we eat and drink.  

Early in the biblical stories of the life of Jesus, Jesus is confronted with this fact of human life. Hungry after forty days of fasting in the desert, Satan suggests Jesus miraculously produce some food for himself out of the rocks at hand. His response, a quotation from Hebrew scripture, “the human does not live by bread alone,” might at first seem like a hyper-spiritual attempt to deny our bodily dependence on food.  But I take it that Jesus isn’t proposing that the human live without bread. He’s asking us to take a closer look at bread to see that it is more than merely bread. What he invites us to see will yet affirm that we are profoundly interdependent within the natural world of which we are a part. Our hunger and the food that satisfies it is one of the most visceral reminders of just this fact. 

To desire a good meal is to seek to attend to the many relationships at our tables and to pursue nourishing mutuality.

Food, however, is more than merely food. Food is a nexus of relationship. The rest of the verse Jesus cites goes on to insist that food comes by the “word that comes from the mouth of the Lord.” Even as we live by bread, we live by Divine words, because the bread we eat—the bread we are—comes to us as a Divine gift. In the biblical imagination, everything comes from God. In the beginning, God spoke and there was. That’s true of the wheat and rye and barley or whatever else we use to make our bread, and it is true also of the human cultures and traditions through which these natural goods come to be bread.  

Bread is more than merely bread; it is a Divine gift. In fact, it turns out, that every good thing is like bread in this way: created things are most themselves when they are more than merely themselves. This is just the sort of thing the creation is. It is an interrelated, connected whole, marked by relationship within and without. Created things are most themselves in right relationship to one another and to the God who created them. As a created good, food is more than just food. 

And, of course, meals are more than just food. Meals are sites of relationship. Particularly in our globalized world, our simple tables often conspire to hide fantastically complex networks of relationship implicated upon them. These networks interweave relationships among people and places—seen and unseen.  

The people implicated at our table include those around the table; those who foraged for, grew, transported, and prepared the food; those whose cultures for generations cultivated the plants, animals, fungi, dairy products and all the rest that find their places on our table; those whose histories and cultures gave rise—through creativity, necessity, or both—to the cuisines that weave together these natural and cultivated elements; and those absent from our tables who yet hunger for food. The places implicated include the fields and wilds and rivers and seas whence the food itself comes; the lands whence the cuisines and cultures hail; and the places we occupy as we share the table.  

So, meals are more than just food. But then, meals most worthy of the name are more than just meals. Meals are not just sites of any old relationship. At their best, they are sites of nourishing mutual encounter between people, places, and the God who created them all. To desire a good meal is to seek to attend to the many relationships at our tables and to pursue nourishing mutuality. To seek the good of the wilds and streams from which our food has come—to seek a way of relating to these places such that those relationships are mutually nourishing. To seek the good of the people seen and unseen but nevertheless “present” inasmuch as they are implicated at our tables.  

In days like ours, our tables are sites of mutual encounter, but the encounter is not nourishing to all involved.

At times, a good meal in this broken world will take the form of fasting in solidarity with or materially for the sake of those who hunger for what we so readily waste. In attending to our interrelatedness with the people and the places God has created, we begin to understand what it is also to attend to our relatedness to God at the table. Each of us—human, plant, animal, field, river, sea—we become most what we are when we become more than just ourselves. We become most ourselves when we attend to our relatedness to one another, when we attend to the God who created us for mutual flourishing.  

It is in these complex webs of interrelationship that what we are begins to suggest to us who we are: we are sharers of God’s home, members of God’s family, citizens, as Jesus put it, of God’s kingdom. The Kingdom of God is just this: all things flourishing in right relationship with one another and with God their creator. One of Jesus’s favorite metaphors for the Kingdom was that of a heavenly banquet. Seated at God’s table, our citizenship, our kinship, our mutual interdependence is plain. 

And yet we are not all flourishing. When I visited last year’s Serpentine Pavilion, Hyde Park was bleached from drought and heat. The would-be lawns felt like deserted wastelands; it was disorienting. Such sights testify to our profound interrelatedness, though against our flourishing. On the Black Sea, wheat that may never become bread, because it is trapped by war offers an analogous testimony. Our lives are deeply intertwined; just so, we are not flourishing. In days like ours, our tables are sites of mutual encounter, but the encounter is not nourishing to all involved. 

If all Jesus offered were a vision of the table as it could be—as it should be—our reflection would have to end here. “Look at what our meals might be,” we might say. “Let us make them so! Let us build the Kingdom of God.” War and climate catastrophe, beware! 

But Jesus never instructed his followers to build the Kingdom. Rather, he invited them to receive it, and in so doing, participate in its coming. 

One of Jesus’ most common ways of inviting people to receive the Kingdom was by inviting them to a meal. These were meals in all our ordinary senses. They were sites of relationship. Particularly as Luke, one of the four gospel writers, tells it, Jesus was constantly offering advice about who to invite to the table. He warned about which absences revealed life-denying alienation. He convened and commended gatherings of rich and poor, religious and irreligious, nevertheless gathered for nourishing mutual encounter.  

These meals are not only revolutionary social projects (though they were and can still be exactly that). In the ministry of Jesus, meals become announcements and enactments of the Kingdom of God. Meals become invitations to and demonstrations of the ultimate Home that God is making for God and God’s creation to flourish together. It is this Home that Jesus invites us to inhabit with him. When we share meals that are more than mere meals, when we allow God to transform our relationships with one another and within the natural world, our meals, too, can become sites of God’s transforming presence—the Home of God coming to be among mortals.  

So, when we come to the table—whether Ghotmeh’s table or the table in our homes—let’s be aware of the opportunity presented to us. At the table, we are invited to know bread that is more than mere bread, even as we are more than merely ourselves. At the table, we are invited into mutually nourishing encounter with one another, within the natural world, and with the God who created it all. At the table, we are invited to be at home with one another in the presence of God in whom all things are finding their Home. 

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.