A place of cleansing

A trip to the dump leads Natalie Garrett to consider the quality of confession.

Natalie Garrett

Natalie produces and narrates The Seen & Unseen Aloud podcast. She's an Anglican minister and a trained actor.

A recyling centre with numbered bays and high netting to catch wind-blown waste.

A household recycling centre -a dumping ground for the soul.

Djm-leighpark, CC BY-SA 4.0, via Wikimedia Commons

I recently moved house. A process which rates highly on the stress-ometer. Not least because you see your life (as represented by the stuff of your life) packed up in boxes and taken away from your home to be reassembled somewhere else, in a strange ghost-version of your home.

To be organised, before we moved, I arranged for a clearance company to come and do the unimaginable – clear the loft. We had lived in our home for 13 years. My children had been born and grown up there. We had grown up as parents and as a family. To see all the plastic trophies of our children’s early lives being taken away to be rehoused was almost like seeing members of the family being taken away to be adopted into other families. But at the end of that process, I had thought that when we moved into the new house, we wouldn’t have too much by way of clutter. I was wrong.

And so, my relationship with the nearby Household Recycling Centre began. I have become almost obsessed with my weekly visit to the tip, which is located just outside town. The sense of catharsis and purging is verging on addictive.

At the tip, there is a range of different waste bins – wood, metal, large appliances etc – and a wonderfully ambiguous catch all, everything-else-that-can’t-be-recycled bin. There are places to leave what can be upcycled, there are places to leave dangerous chemicals. The tip is a welcoming place for those of us who recognise that we want to get rid of stuff that is taking up space in our life/home that isn’t helping us live well. It’s a place where a person is encouraged to acknowledge that we don’t need to hold onto what brought us joy in the past but only gets in the way in the present. What is now harmful to us can be taken away and dealt with by professionals.

Festering shame is one of the greatest poisons, one of the greatest risks to the flourishing of the human soul. It needs to be purged, not hidden.

Today, we are often told “never apologise”, “have no regrets”. But that’s really hard. Because most of us know, in some place in our being, that we’ve said, done or thought things that aren’t good. And that knowledge elicits feelings of guilt and shame. So what do we do with that? Ignoring and suppressing those feelings doesn’t mean they go away, instead they fester. Festering shame is one of the greatest poisons, one of the greatest risks to the flourishing of the human soul. It needs to be purged, not hidden.

And so, I return to the dump. At the dump, you aren’t judged for what you bring. There is a shared respect amongst visitors to the dump. Almost a greater respect for the person with the fullest car or the most fetid waste. Where can I go to leave my rotting conscience?

There is a spiritual discipline akin to my weekly tip trip. The discipline of confession. Confession is a spiritual gift that helps us unload the sometimes debilitating cargo of our psychological burdens. In the Christian tradition, the practice of confession can be a shared experience as part of a congregational worship service. Or it can be a more private moment, shared with a priest or trusted Christian friend.

Or confession can be done just me and God. Just you and God. We can honestly bring our mistakes, past or present, and be set free by God’s forgiveness. It doesn’t have to be in posh language, it just needs to be honest. We can just say sorry. We can say we just really wish we hadn’t done/said/thought … and we want to repent. Repentance means turning around and going a different way – so we can ask God to help us leave something behind, and learn how to go a different way.

Jesus invites you and me to bring our rubbish to the greatest spiritual waste centre, located outside town, outside time, at the foot of a cross on Calvary. His physical death was terrible. But the spiritual death was far more painful. He acted like a magnet to all the darkness of humanity and drew it into himself. So, out of love, he became the dumping ground for all that is worst about humanity. And it crushed him. But, Christians believe, he rose again three days later. He came out the other side and invites us to follow him there, too, into the light of forgiveness and freedom.

So next time I’m loading up my car with more (more!) cardboard and a few bulky leftovers from yesteryear, I’ll try to remember to do business with my burden of shame. Which we can dump at the cross of Christ, knowing that it will be dealt with. That it has been dealt with. And we can leave with an empty car. Lighter, hopeful, clearer-headed. Free

Review

Art

Character

Creed

Easter

Suffering

18 April 2025

5 min read

Why sculpt the face of Christ?

In Nic Fiddian Green’s work we feel pain, strength, fear and wisdom.

Jonathan Evens

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…?”

A sketch shows the hanging head of Christ wearing a crown of thorns.

This Storm Will Pass, 2024. Slademore Gallery.

A crucifix hands on a round-topped slab.

I Paid, 1993. Slademore Gallery.

Crown of Thorns, 2025. Nic Fiddian Green.

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.

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