Interview
Creed
Freedom of Belief
Middle East
S&U interviews
5 min read

Searching for purpose landed me in an Iranian court

Hassan tells how changing his belief is perceived as a threat to Iran’s national security.

Belle is the staff writer at Seen & Unseen and co-host of its Re-enchanting podcast.

A man walks through a dark alley, looking to one side, illuminated only by roof lights.
An alley in Zanjan, Iran.
Bahram Bayat on Unsplash.

Hassan is Iranian and a Christian; now living in the United Kingdom, he tells Belle Tindall his story. His name has been changed to protect his identity.  

Can you tell me your story, tell me how you became a Christian and what life in Iran was like as a result of that decision? 

Yeah, actually, I was born in Iran and in Muslim family. I grew up as a Muslim, and then at the age of sixteen, I became a Christian. I was questioning whether God exists or not, asking what the purpose of my life was, the purpose of the whole world, in fact. And, if there is a God, why are there so many injustices in this world, and around me?  

I went to Islamic theology first, because that’s what I knew. But, it left me feeling empty.  

And I remember, one day, I cried out to God, I said – ‘I don't know if you exist or not, I don’t know if you can hear my voice or not. But if you exist, and if you're hearing my voice, please talk to me directly.’ 

I was really desperate.  

A few months after that prayer, I was alone at home and suddenly a crucifixion appeared in my front of my eyes. I had no knowledge about Jesus’ death on the cross or anything like that. But that was it.  

I didn’t know that the Christian church was being persecuted at this point. And I remember, in the early years, learning that I couldn’t attend any church service because they weren’t able to accept Muslim converts. But I just couldn’t ignore this very strong voice in my mind and heart, telling me that only Jesus could save me. So, I had very deep peace in my heart. 

And am I right in thinking that you were arrested for your Christian faith?  

Yes, intelligence police came to my home one morning, showing me a paper that permitted them to search my flat. They didn’t actually tell me that it was because of Christianity, they just searched everything, took photos, and seized anything that was related to Christianity.  

Then they told me – ‘this is happening because you’re a Christian’, and they sent me to court. But, during my trial, they presented me with different charges: undermining the government and posing a threat to national security.  

So, how long were you in prison for? 

I as in solitary confinement for a month. But they couldn’t keep me in prison because years before I had gone through the process of becoming legally recognised as a Christian convert – when it wasn’t illegal. So, they had to release me. I also had human rights organisations putting pressure on the government to release me, they were working on my case. So, after a month I was released on bail.  

And is that when you came to the UK?  

Yes, because even when I was released, I wasn’t safe. They would call me all the time, they would call me in for interrogation constantly – they wanted to show me that they were still in control, that they knew everything. I was being monitored always. And so, mentally and emotionally, it was very difficult for me to stay there. I spoke with some leaders in my church who told me that it would be wise for me to leave Iran. It wasn’t safe for me; I didn’t have a choice.  

And how has your experience been, here in the UK?  

To be honest, to begin with, it was really difficult. Because of the torture that I had endured, I had a lot of trauma – and when I came here, I had nothing. I was learning a new culture, a new language. And I carried this trauma here with me. Spiritually, mentally, emotionally, it’s been very hard for me to be here.  

It was very dark.  

Can I ask you, in light of everything that you’ve experienced, what you think of the recent comments about the church ‘aiding bogus asylum claims’? 

I was a refugee. And when I arrived, my interviewer was a very kind lady. To get my immigration status only took two or three weeks, but that could have been because my story was already quite well-known, so there was evidence that I had been persecuted because of my Christian faith. My case had been on the internet.  

And I understand that some people aren’t honest about being Christians – and that would make it difficult for people like me. It’s tricky. I don’t want to judge anybody, because I understand, I’ve seen the other side.  

And it is a challenge.  

But I feel positive that even if somebody hasn’t been to church in Iran, it’s a good opportunity to share the gospel with them here in the UK. It’s good news that they’re here – even if they’ve come for a different reason.  

But I really do think that people are coming because they’re persecuted. They’ve been through so much. It’s hard for the Home Office, but the church have an important role to play – to support the people who have been persecuted, who have never before had a place to learn about or worship God. Those who have never had the freedom to express their faith, or live in their faith. I think the church has a really, really important job - to support them and stand behind them and speak for them.  

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.