Explainer
Belief
Culture
7 min read

The questions that nobody can escape

Seeking answers about beginning, meaning, and of the end, explain why religion refuses to disappear.
An arm and hand stretch out in front of some, a narrow street is the background.
Andrik Langfield on Unsplash.

In the twentieth century many people thought that religion was on the way out. As the political scientist Francis Fukuyama put it, it was broadly assumed that “religion would disappear and be replaced solely by secular, scientific rationalism.” But few people now believe this anymore. Fukuyama himself has changed his mind and says that the disappearance of religion “is not going to happen.” But why is religion refusing to disappear?  

A core reason for the persistence of faith is that there are questions that everyone asks at one point or another that lead in the direction of religion. Religion, or faith, addresses questions that nobody can escape: Why is there something rather than nothing? Where does it all come from? Is there meaning to this life? And what happens after death? Faith traditions are experts in such ultimate questions. Consider the following examples.  

These questions of beginning, of meaning, and of the end, are the questions that religion deals with.

When people experience the beginning of life, they are often caught up in wonder. How can it be that a whole new person is growing inside a woman? Even Friedrich Nietzsche, the great critic of Christianity, who famously declared that “God was dead”, also wrote, “Is there a more sacred state than pregnancy?”  There is something deeply moving around the beginning of life. Many who become parents, or in some way experience the beginning of life, are led to wonder: isn’t something more than just biology happening here, something deeper? A new life, a whole new person – and our love for that new person – where does all of that come from?  

Another group of questions that most people will face at some point in their lives revolves around meaning. What’s the point of growing up, a teenager might ask? What’s the point of my work, we may ask later on. Especially when we face frustrations, failures, challenges we might wonder what difference we are making to the world. Would anyone miss me if I was not here?  Will anyone remember me if I die?  

Finally, we all at some point come in contact with death. Even if we are spared the pain of friends dying young, it is the natural course of the world that our grandparents and our parents will one day die. What do we do in the face of such loss? It is hard not to ask: Where is my loved one now? And is there hope of seeing them again one day? 

These are the kinds of questions that nobody can entirely avoid in their lives: they never fail to arise and press themselves upon our consciousness. Yet these questions of beginning, of meaning, and of the end, are precisely the questions that religion deals with. And here lies one important answer to why faith won’t just go away: Because scientific rationalism cannot really address them. 

Faith offers a space in which people can ponder the ultimate questions and find other people who want to do it with them. 

To be sure, secular scientific rationalism does offer some answers as to how life begins – we know the biology of it all astonishingly well. And yet, biology is not everything, and in fact, it is not the biological aspects of it all that touch us. The wonder, the hope, the love that we experience when we are faced with the beginning of life is more than what can be rationally or scientifically accounted for.  

Similarly, scientific rationalism is not well equipped to answer questions of meaning. Science is great at answering how something works or how it should be done, but why-questions fall into a different category. Many chatbots, when asked about the meaning of life, will answer “42” - which is a reference to the comic sci-fi series “the Hitchhiker’s Guide to the Galaxy” and we intuitively understand that this answer is nonsensical. It is funny precisely because it is nonsensical.  

And again, around the end of life: Scientific rationalism cannot and will not, based on its methods and approaches, say anything about the afterlife.  

So, the questions of beginning, meaning and end cannot be answered solely by scientific rationalism. And yet they come up in all of our lives. Right here lies an important reason why faith has not gone away. Faith deals with just these questions. It is good at dealing with them – they are the core domain of faith.  

Faith offers answers to questions of beginning, meaning and end, but just as importantly, it offers a community in which such questions can be addressed and discussed. It offers a space in which people can ponder the ultimate questions and find other people who want to do it with them, perhaps showing them ways in which they can find answers. Different faiths and different expressions of faiths do this very differently: organised religions do it differently to loose association of the “spiritual but not religious”, but in all cases, it is faith – broadly understood – that addresses and deals with the questions that niggle away and are not otherwise addressed. Faith won’t disappear, because faith’s questions won’t disappear.  

But why does this need saying? Is it not obvious that religion is about ultimate questions that concern everyone?  

The problem is that modern Western life is full of opportunities to distract us from these questions. We are wealthy, comfortable, bombarded with entertainment, and often very busy with careers and children as well. All these things help us to repress the deeper questions about the origin and purpose of our existence.  

Many people treat the question of life’s meaning like a school or University essay that they can procrastinate from indefinitely: “One day I’d like to figure it out: what it’s all for and where it’s all going: but today there’s another episode on Netflix, Instagram to browse, or tennis on the TV.” The entertainment industry offers alluring enticements to money, sex, fame or success. Wealth is particularly useful because it helps us get what we want, when we want it, and prevents us from facing the harsher realities of life. Making ourselves busy is easy, and we can leave ourselves no time for deep reflection on the bigger questions. All of this adds up to what we might call the “narcotic of everyday life” – the ways in which daily life and society act as a drug to cloud our vision, confuse our thinking, and prevent us from clearly facing up to the things in life that matter most.  

The “narcotic of everyday life” – the ways in which daily life and society act as a drug to cloud our vision, confuse our thinking, and prevent us from clearly facing up to the things in life that matter most. 

But the problem is that even ordinary everyday life is lived according to (at least provisional) answers to those big questions. Every daily decision we make displays our values, what we think matters. If we work late instead of coming home to play with the children – if we fly to New Zealand for a vacation, or buy beef, massively increasing our carbon footprint and contributing to climate change – we are making choices that have an impact on the planet. All our choices are based on values which reveal our beliefs about what makes life worth living and what we want out of life. You cannot be an agnostic. Your life displays belief in one thing or another. Consider one stark example. A pregnant teenage girl simply cannot be agnostic about abortion for very long. She has only two options: abort, or give birth. The choice she makes will be a practical consequence of her beliefs and value judgments.  There is no agnosticism, no “not answering” the question.  

Like every religious tradition, Christianity calls us to live lives that are rooted in things of ultimate and lasting value, rather than superficial or self-centred concerns. It challenges us to fight against the narcotic of everyday life by constantly drawing our attention back to the things that most matter. Through worship, Bible reading, and prayer, it incessantly asks us those vital questions: Is it really about making money? Is it about getting promoted? What are our ultimate values and how do we show them in our lives? The real power of secularism is not that it offers alternative answers to these questions but that it distracts from the question. All we need to do is un-distract.  

Christianity is not just a set of easy answers to these questions. It is a way, a journey towards the truth. To be a Christian means to belong to a community that trusts what Jesus has revealed about our life’s origin, meaning and end. In that community there are some implicit answers to get us started. We live in the belief that life is meaningful, that selfishness and personal pleasure are not the most important thing. There’s plenty of room for debate and discussion, but let’s at least start talking about the things that matter. 

Review
Art
Culture
5 min read

Genesis Tramaine: the painter whose faces catch the spirit

New York's expressionist devotional artist

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

AN experessionist painting shows a face with a large open smile and many eyes.
Oh! Ye’ Faithful, 2024
Almine Rech.

Genesis Tramaine begins her presentation as part of the McDonald Agape Lecture in Theology and the Visual Arts 2025 by singing ‘Amen’, a gospel song popularised by The Impressions in the 1960s. Her presentation about her art is essentially an act of testimony, such as might be given in a Southern Baptist Church in the USA. 

Tramaine is an expressionist devotional painter from the US who is deeply inspired by biblical texts and whose work is held in permanent collections, including the National Gallery of Art in Washington DC. The large expressionist heads she paints are not representational portraits but expressions of spiritual energies and forces within the person, often inspired by and showing biblical figures and saints, as well as church people, family and friends. 

She speaks about having met the Gospel before meeting God, as she attended a strict Southern Baptist Church while growing up. She drew from the back of the church and also wrote thoughts and impressions in notebooks. She says that she loved church but that it fell out of place in her life as she grew up. 

One day, far from home and needing help, she called her Nana on the phone, who said to seek first the kingdom of God. She found quiet in herself and prayed more, finding herself in conversation with herself. On one occasion, disturbed, she couldn't sleep and was experiencing physical manifestations. At this time, she says, she saw all of herself and surrendered to God. In the morning, she read Matthew’s Gospel - seek ye first the kingdom of God. 

The words in the Bible started to make sense to her as a story reading itself to her and she began drawing faces. Her Bible had white images of Christ and Mary, so the words didn't match the images, and this was a spur to paint the women and children of the Bible revealing the beauty of black women in particular. She read the Bible in the King James Version, stopped trying to fit in and found the strength to play with and disrupt narratives. The tools and materials to do this were all one’s that she found in the Bible. 

Eyes are our organ of vision, so faces sporting dozens of eyes are those which, like the saints, achieve the greatest insight into the true depths of reality. 

Her current exhibition at the Consortium Museum, Dijon, France, is entitled Facing Giants’ and addresses these issues head-on. She has said of the exhibition: ‘I think it’s important that you paint a real narrative, an honest reflection. I don’t think [my saints] look like saints as they have been given to us...[those] were false narratives. The images of saints that we know and that are projected at us are all white with blond hair—and we all know that that is not true.’  

She has explained that: ‘These are biblical saints who have faced giants whether those giants are actual giants or giants like fear, love, acceptance or non-acceptance, the giants of facing God and not being accepted, giants of judgments… those who have sat in the mud, if you would, and found a way to persevere. And I wanted to spend as much time as I could with those energies and those narratives, as a tool of self-encouragement and as a tool of encouragement for others.’ She feels these energies literally, speaking of entering the room where she paints with a sense of a whole other people - silent saints – being present with her when she is at the canvas.  

While Tramaine emphasises the inspiration of the Holy Spirit in her work, critics have noted her stylistic closeness to graffiti art and she herself has explained that she was familiar with graffiti in her childhood in Brooklyn. Eric Troncy, Director of the Consortium Museum, relates her work stylistically to the expressionism of George Condo, Jean-Michel Basquiat, and Willem de Kooning. Tramaine, though, speaks of other influences including Sister Gertrude Morgan, Romare Bearden, and David Hammond. In the McDonald Agape Lecture, she spoke of Hilma af Klimt and Jack Whitten as inspirations, as well as gaining inspiration from the significance of the Iyoba Idia of Benin in Nigerian culture. 

One of the distinctive features of Tramaine’s portraits is the plethora of eyes that often feature. Eyes are our organ of vision, so faces sporting dozens of eyes are those which, like the saints, achieve the greatest insight into the true depths of reality. Some more recent images have also featured a plethora of open mouths and teeth. Troncy writes that: ‘Her figures, it seems, have started to smile. To shout, perhaps; to sing—why not?; and to talk—most definitely.’ 

This is interesting, in part because, when I asked her in an earlier interview about her influences, she began by speaking about her love of gospel music, including that of Jonathan McReynolds and Le’Andria Johnson. She says this Jesus focused music ‘encourages me to praise from the depth of my soul; to paint, let go and trust from that space’. While she’s ‘not quite sure what happens’ then, ‘Black folk say I catch the spirit’. She speaks of losing time as you paint, saying that you can't be present when painting as you have to trust yourself to the process, surrender, and play in the space. 

This is, in part, why she began her McDonald Agape Lecture presentation by singing. 

Her testimony is essentially simple, direct and profound: ‘I've wanted to be an artist since I was a child. I took my prayers seriously, which means I began to develop a relationship with Jesus Christ, my Lord and Savior … I asked God if I could paint and pray, help and give, as an offering of service for the rest of my life. And the paintings began to mature. I committed to the relationship that painting offers spiritually, in Jesus’ name.’ 

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