Explainer
Addiction
Creed
Eating
5 min read

When indulgence and inhibition are on the menu

As the time of feasting concludes, and resolutions start to crumble, Ryan Gilfeather takes some lessons on how and when to say 'no more'.

Ryan Gilfeather explores social issues through the lens of philosophy, theology, and history. He is a Research Associate at the Joseph Centre for Dignified Work.

Two stuffed cheeseburgers are carried on a tray.
Peter Dawn on Unsplash.

Advent and Christmas are heroic culinary seasons. They are times of abundant feasting on foods from rich and varied traditions. However, despite the enthusiasm many of us share in this overindulgence, we are, as a society, fairly ambivalent about the pleasures of food. 

Recently, Tim Hayward wrote a vigorous defence of gluttony, claiming that the Church labelling it a sin, because it defied the practice of self-denial in hope of future reward that he claims the Christian faith is predicated upon. Here, Tim represents a prominent belief in our culture, that taking pleasure in an activity cannot be wrong if it doesn’t have negative consequences on others.  

However, despite the prominence of these views, diet culture is still powerful and pervasive. Many of us, perhaps guilt ridden and ashamed, will resolve in the New Year to cut out the pleasures of food in order to drop a few waist sizes.  

This encouragement to say no to the pleasures of food, is an invitation to learn the habit of denying our inner yearnings, if they will lead to emptiness.

Over the years, Christians have also toyed with the question of what pleasure we are to take in food. They are certainly far more cautious than the hedonists among us would like. However, they give us a way to navigate between the Scylla of unrestrained indulgence and the Charybdis of starving ourselves entirely.  

Gregory of Nyssa, a Fourth Century bishop and theologian, argued that indulging the desire for the pleasures of food can replace our pursuit of those things which are truly good in life. Here, Gregory makes a similar point to Graham Tomlin in a recent article for Seen & Unseen. Gregory gives particular insight into the psychological experience of addiction to physical pleasure. In his biography of Moses, he likens the pursuit of physical pleasures to an enslaved person making bricks. The brick maker is entirely consumed, both in mind and body, with filling the brick cast and baking it. But, as soon as the brick is finished, the cast is empty again, and the process must be repeated. We dedicate our thoughts and our actions to achieving physical pleasures, but as soon as we attain them, they disappear. It is a futile process.  

Crucially, some people develop a kind of addiction to pursuing pleasure, they are stuck in the loop of dedicating their minds and bodies to achieving it again and again. They begin to experience emotional turbulence if they can’t attain pleasure, like anger, greed, or anxiety. This pattern of behaviour absorbs these people’s thoughts so much that it replaces their capacity to pursue those things in life which will truly make them flourish. Therefore, this encouragement to say no to the pleasures of food, is an invitation to learn the habit of denying our inner yearnings, if they will lead to emptiness.  

The most salient and pervasive examples of this today are digital content and social media. We tend to think of addiction in clinical terms, an extreme form of behaviour associated with people whose habitual consumption of drugs, alcohol, or gambling has run their lives off of the track. However, some psychologists argue for a broader definition of addiction. One which includes the habituation to compulsively consuming social media, the news, and other forms of digital media. For many of us, our compulsion to consume these kinds of content will occupy a great deal of our time and energy, which we could otherwise spend on activities which would make us thrive. Such as nurturing our relationships with God and with others, creative endeavours, and spending time in nature.  

A well-crafted meal, especially one received from a long culinary tradition, reveals the power of human creativity, which in turn shows us a glimmer of God’s creative act. 

Importantly, Gregory does not suggest that we ought to starve ourselves. A key aspect of learning to say no to the pleasures of food, is learning to say yes to that which our body needs. He explains that our minds are capable of determining how much is sufficient, but our inner yearnings are not. If they are left unchecked, they will cause us to desire to never stop eating. For those of us who are privileged enough to afford it, the solution is to neither punish nor destroy our bodies, but simply to stop when we have had a sufficient amount. 

Admittedly, this vision of eating does not sound like much fun. Food and wine certainly afford me great pleasure, not so much in their quantities but in their qualities; what room is there for people like me in Gregory’s vision of the kingdom of God? 

In his interpretation of the Song of Songs, a book in the Hebrew Bible, Gregory discusses two kinds of pleasure. He says that there are pleasures of the body, which, as discussed, consume our minds and bodies, replace our pursuit of those things which will help us truly flourish and give us turbulent emotions. However, there are also spiritual pleasures. These are experiences which lift our minds up to God and give us a kind of spiritual ecstasy. Although Gregory does not make this connection, I suggest that food can afford us these spiritual pleasures. The occasional feast can point to the abundance of God’s generosity to us. Fine fresh fruit on a summer's day can teach us something about the goodness of God’s creation. A well-crafted meal, especially one received from a long culinary tradition, reveals the power of human creativity, which in turn shows us a glimmer of God’s creative act.  

In this way, Christians have a way of thinking about the pleasures of food which walks the narrow path between the pitfalls of unhealthy overindulgence and mutilation of the body. It is cautious about a pattern of life given over to the pursuit of pleasure instead of those things which will make us thrive. However, it recognises those times in which food can lift up our minds to the divine. So, this New Year, don’t resolve to starve yourself in pursuit of a certain waistline, and certainly don’t give up on discipline altogether. Instead, focus on moderation, and the capacity to say no to unhelpful desires. Let this discipline open up space in your life to say yes to those things which will make you truly flourish. 

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.