When medal mania strikes

What turns a healthy motivation to excel into a toxic desperation to achieve?

Paul Valler

Paul Valler is an executive coach and mentor. He is a former chair of the London Institute for Contemporary Christianity.

A defeat fencer, withour a mask, turns angrily and roars.

Sandro Bazadze loses and loses it.

The brilliance and joy of medalists in the Paris Olympics is incredible to see. Their discipline and sacrifices in training pay off in mesmerising displays of excellence and moments of pure elation. Yet for there to be winners, there also must be losers, and there have been revealing moments of crushing disappointment which are never nice to see. Sadly, Sandro Bazadze, world number one in fencing, could well go down in Olympic history as ‘the distraught loser who lost it’ in a furious rant at the referee as he was eliminated in the last 16 of the men’s sabre. What is it that makes some people explode like that? What is it that changes a healthy motivation to excel into a toxic desperation to achieve? What is it that changes a human being who is fully alive into an anxious person, so driven to succeed that they cannot bear to fail?

That is likely why Bazadze erupted. When he was denied success, he was denied who he thought he was.

Few of us will achieve Olympic greatness, or the media recognition that redefines an athlete’s profile by forever linking their name to their achievement. But we all have an inner tendency to believe that our value is based on what we can achieve. We live in a culture that continually sends us the message that approval and worth depend on your results. Many of us believe it, and then fall for a life of continuous intensity - a ‘cycle of grief’ as we fiercely strive for results, but mourn the loss of our inner peace. And this cultural message of acceptance through achievement becomes really toxic when we begin to believe the lie that our identity is based on our performance. That is likely why Bazadze erupted. When he was denied success, he was denied who he thought he was. “The referees have killed me”, he exclaimed.

It’s not just athletes who are at risk from this. Think about how our education system sends the same message about grades. Thousands of teenagers suffer anxiety and mental illness as they face exams, because they believe their self-worth depends on their marks. As GCSE results are published this month, thousands will be congratulated, but some will become depressed from failure.

I know many workplaces where ‘performance management’ has become so oppressive that it leads to drivenness, perfectionism and burnout. Even retirees can feel driven to complete their ‘bucket list’ before they die or become infirm. So, people in all walks of life easily become addicted to the treadmill of ‘performance-based living’ and feel tired, trapped and troubled. Labouring under the false belief that self-respect depends on achievement. If you believe that, you cannot fail or even be ill without feeling deficient.

There is a deep peace in that. A freedom and resilience that makes it possible to compete without fear of failure.

There is a better way. We can choose to renounce that pernicious lie of a performance identity and affirm the deep truth that our real identity and significance is found in who we are as God’s much-loved children. We can anchor our emotions in the security of that true identity. If Bazadze had really understood and internalised this, he would still have been disappointed with the judges decision, but not destroyed by it.

It is possible to decide to face up to the mania for results and our culture of continuous intensity. That is what Sabbath is about – an act of resistance against a world dominated by the need for success. God knows we need a break, not only to rest, but to recentre our hearts and minds on the truth. We are loved unconditionally and don’t need to strive to achieve in order to be accepted and significant to God. There is a deep peace in that. A freedom and resilience that makes it possible to compete without fear of failure. In the Bible, the word excellence is never applied to achievement, only to character, and the most excellent way is defined as love. The Christian worldview celebrates great performance, but avoids making an idol of it, because that leads to a destructive obsession and to insecurity.

Being secure in God is not about avoiding competition or pressure. It is learning to pursue outstanding attainment free from any sense of our identity being stolen by our grades, or jobs, or whether other people approve of us or award us medals. Top quality performance is superb and we should give our best with all our heart whatever we do. But God is a God of grace, who loves, accepts and dignifies everyone unconditionally, including those who didn’t even qualify for the Olympics, just as much as those who were on the rostrum.

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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