Column
Creed
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5 min read

The short road from normality to evil

The Liverpool’s parade ramming reveals society’s watermark
Aerial view of a yellow-jacketed police forming a cordon within a crowd.
Aftermath of the Liverpool parade incident.
ITN.

Sometimes football is interrupted by real life, and you remember how trivial it ultimately is.  

On 26 May, the city of Liverpool was gearing up to do what it does best: celebrating. Specifically, celebrating the parade for Liverpool’s lifting of the Premier League trophy the day before. I’ve written before about the day it was confirmed that Liverpool would win the league. The joy, the relief, the tears; the community of it all. Cody Gakpo with his top off.  

Here the whole city would be involved, and many more besides who had travelled just to be there. Not even torrential rain can dampen scouse joie de vivre. The city alive in red, joined in adulation of its team as the Premier League Champions’ bus paraded across the city. What a day. 

And then, an interruption. Reports begin to emerge that someone had driven a car into people on the parade route. You fear the worst. And then it’s confirmed, and you fear even more.  

Suddenly the parade feels trivial; football feels trivial. You’re just waiting for news that everyone is okay. 109 people are injured and it’s a miracle that no-one is killed, although you imagine many more will live with the trauma of the day for years to come. 

The immediate and (quite literally) uninformed commentary and misinformation spread by many on the far right was as predictable as it was racist. The same people seemed genuinely disappointed when the perpetrator turned out to be, not an immigrant or an asylum seeker driven by ‘non-British’ values, but a 53-year-old white British man from the city. As ever, the far right demonstrating once again that the first reaction is very rarely the right reaction. 

We still don’t know the full details of what happened and why, but the man’s neighbours described him as “normal” and expressed their surprise at him being caught up in something like this.  

I was surprised by how surprised everyone was at this. 

The Christian Bible is full – full – of ‘normal’ people committing abnormally evil acts. David, Israel’s most beloved and highly praised king, rapes a woman called Bathsheba resulting in her getting pregnant. He then tries to convince the woman’s husband to sleep with her so people will think the baby is his. He doesn’t, so David has him killed. Israel’s most beloved and highly praised king. 

David may be one of the starkest examples from the Christian Bible, but he’s certainly not the only instance of a normal, or even seemingly ‘good’ person performing unspeakable acts of violence and evil. Time would fail me if I tried to recount them all here.  

People are fundamentally good. I will die on this hill. People are fundamentally good. But the road from normality to evil is shorter than we often care to admit. 

The Slovenian philosopher and professional eccentric Slavoj Žižek tells a joke in his helpful little book Violence. Workers are suspected of stealing from a factory and so have their wheelbarrows checked every day at their shift’s end. Only when it’s too late do the factory owners realise they’re stealing wheelbarrows.  

We have so many frameworks and watermarks for identifying what constitutes ‘violence’ in society. And yet Žižek’s point is that these frameworks and watermarks are themselves upheld by violence. There’s violence inherent in the system.  

This is one of the central points in Christopher Nolan’s The Dark Knight, too. In one memorable scene, the Joker is talking to Harvey Dent while strapped to a hospital bed. He says:  

“Nobody panics when things go ‘according to plan’, even if the plan is horrifying. If tomorrow I tell the press that a gangbanger will get shot or a truckload of soldiers will be blown up, no one panics, because it’s all ‘part of the plan.’ But when I say that one little old Mayor will die? Well then everyone loses their minds!” 

But the Joker’s point is that none of this is normal. Not really. 

This is the true crime of the world we live in today, that it has convinced us of the normality of evil while undermining the normality of loving one another. 

But they are all symptoms of the same sickness. The repulsion we feel towards the ‘normalcy’ of the driver at the Liverpool parade is the repulsion we ought to feel towards any act of violence, be it the violent persecution of immigrants and asylum seekers, the enforced annexation of sovereign territories, or the attempted genocide of unwanted people groups (to conjure up some obviously hypothetical situations …). 

To be surprised at the violence seen in Liverpool on 26 May at the hands of a ‘normal’ man is to miss the fact that society’s very norms and standards are, themselves, deeply violent. Fashion business built on modern slavery and child labour; banking corporations paying their bosses obscene bonus wrung from the pockets of people barely able to make ends meet; at least 354,000 people homeless in England alone by the end of 2024.  

All these things are acts of violence. All these things are normal. They are the norms and standards against which we look for violence in our world today. But they themselves are deeply violent evils. They are the violence inherent in the system. They are the workers’ wheelbarrows. They are the Joker’s truckload of soldiers.  

We live in a society that functions precisely because of deeply unjust and violent systems and structures. The violence is necessary for the functioning of the system. 

But while Liverpool’s Champions League parade demonstrates this, it also shows us the correct response to the normality of evil: love. 

In the aftermath of the incident, people took to social media to offer beds for the night, lifts home, food, drink. Anything and everything that anyone might need. And do you know what the most remarkable thing about this was? It was all so … normal.  

Of course this is what you do in situations like this. You love, and you care, and then you love, and then you care. What else is there to do? It’s the most normal things in the world. People are fundamentally good. I will die on this hill.  

And this is the true crime of the world we live in today, that it has convinced us of the normality of evil while undermining the normality of loving one another. In such a world, to love one another, to care deeply and meaningfully for those around, is nothing short of an act of resistance to the violent established order.  

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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.