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4 min read

Why reducing the voting age is a mistake

Adolescence should be a safe space to be a bit daft

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

A band and audience are back lit against a stage.
Let it out.
Kylie Paz on Unsplash

The haunting book of Ecclesiastes carries these memorable words:  

For everything there is a season, and a time for every matter under heaven: 

a time to be born and a time to die, 

a time to weep, and a time to laugh 

a time to keep silence, and a time to speak 

They came to mind recently when reading of the UK government’s plan to reduce the minimum voting age to 16. Now I understand why this government might want to do this. Lowering the voting age has proved popular in other places such as Scotland. Some well brought up 16-year-olds are mature beyond their years, show an interest in politics, and are smart, articulate people. And, of course, younger people tend to be more inclined to vote for left-leaning parties like Labour. It makes electoral sense.  

But does it make generational sense?  

Adolescence is a time when we try out being grown-up for a while. Mid-teenagers are no longer children, but they are not yet fully adult. They are in the process of spreading their wings, most of them still at school, living at home under their parents’ roofs, not yet fully responsible for their own time, income, life choices and so on. They can’t legally buy alcohol, fireworks or drive a car. Yet they can buy a pet or a lottery ticket. It’s a kind of middling time, not one thing nor the other.  

And rightly so. Adolescence is a time for a certain controlled irresponsibility. We all look back with embarrassment on things we did in our teenage years. A few years ago, I watched a cricketer called Ollie Robinson make his debut for England at Lords. The best day of his life turned into the worst when some journalist desperate for a story dug up some semi-racist tweets he had posted several years before as a teenager. Some say he has never recovered, as he struggled with the media attention into his life, and has not played international cricket for over two years. We all said stupid things when we were 16 and that should be expected and forgiven as what they were – immature posturing, attempts to work out who we are in the big world, testing the water of the adult world before we dive in. Adolescence should be a safe space to be a bit daft, to get some things wrong and some things right. Hopefully we learn from our mistakes and our successes and grow up a bit through them.  

The attempt to make 16-years olds politically responsible seems to encroach upon that safe space. It risks skewing an important stage of growing up. And this seems to be a modern trend. 

Teenage years are a vital period enabling us to grow into mature adults, learning to become responsible over time. 

In the past, 21 was the age when people legally became adults, being given the ‘key to the door’, trusted to come in and out of the house independently of parents. Yet that has shifted within living memory. The legal age of adulthood was reduced to 18 in 1969. 

Jonathan Haidt recently complained that we are seeing “the complete rewiring of childhood.”  The childhood of mammals, he claimed, involves rough and tumble play, chasing games, activities that develop adult skills. In recent times, he says, we have put into the pockets of children and young teenagers, a video arcade, a porn theatre, a gambling casino, and access to every TV station. The result of indiscriminate access to smartphones has been the loss of what we recognise as childhood and its replacement by gazing at screens all day long. 

This shift to the voting age is also part of the drift to politicise everything. Everything becomes political, from your artistic tastes, to gender differences, to the food you eat, to family relationships. If politics is everything then surely everyone affected by it must vote? Yet politics has its limits. Politicians can only do so much. They can try to fix the economy, close loopholes that let harmful behaviour flourish, organise life a little better for most of us. They cannot fix the human heart, get us to love our neighbours or teach us gratitude, humility, faith, or what to worship – the most important choice of our lives. 

Not everything is political, but everything is spiritual. Everything moulds us in some way, shaping us into the people we become over time, like plasticene in the hands of a child. Teenage years are a vital period enabling us to grow into mature adults, learning to become responsible over time, being given leeway to develop our moral senses and to work out our opinions as we encounter the wider world.  

There is indeed a time to be born, and a time to die; a time to choose, and a time to play; a time to be an adult and a time to be child. Perhaps we should respect the times and seasons of life a little better, letting teenagers be teenagers and not expecting them to become adult too quickly. Most will hopefully have many years to vote if they live long healthy lives. The distinctions of time and the delicate, slow process of maturity need to be respected. We erode them at our peril.  

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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.