Is your nativity missing a dragon?

This Christmas, we might be closer than ever to the story’s origins. Terror. Surveillance. Poverty. Genocide. Perhaps it is time to add a dragon to tame creche scenes.

Julie Canlis

Julie connects Christian spirituality with ordinary life in Wenatchee, Washington State, where she teaches and writes.

The head of a giant paper dragon glows orange and red against a night sky.

Oliver Needham on Unsplash.

Advent is not Christmas. The wisdom of the church is this: humans need time to take stock of the grim reality of life, as the nights get even longer. We can’t skip forward with shopping bags and fairy lights to Christmas. These weeks of Advent prepare us. For the unexpected. For the necessity of grace.

Advent is the time the church reflects on its hierarchical structures, its imperialist tendencies, its obsession with power. And repents. It repents because it is about to celebrate that God’s greatest power move was to become powerless. Yes, the church forgets this annually. Sometimes centennially. But inbuilt within the church year is a season that forces it – and ourselves – to come face to face with our hypocrisy.

Advent begins in the darkest time of the year.

Advent is also an enforced time of waiting for the miracle of the unexpected, often in times of grave crisis. We, like the church, can be perpetrators, but we can also be victims. Another aspect of Advent is a vigilant time of waiting alongside the oppressed, in hope, for what we cannot see. For some people it involves fasting, a sign of repentance. For others, it is an advent wreath with daily readings and meditation. Still for others, it is a time to challenge rather than give in to our consumerist global empire.

Advent invites us to remember that God doesn’t come how or when we want. God cannot be manipulated. God can only be received, and most often by those who least expect him. Those on the margins. Those pregnant by accident. Those under tyrannical rule. Advent grows in the church a reverence for the downtrodden and the abused, if we are paying attention. Advent teaches that God comes to those who think they least deserve him.

What if we stretched out Advent across four weeks of waiting, of gestation, refusing to allow Big Corporate Christmas to deliver the baby prematurely?

The first Christian account of the birth of Jesus is not, surprisingly, in the gospels – the four biographies of Jesus’ life, composed within living memory of him. We are accustomed to this first century record of sheep and shepherds, stars and stables. But there is a poetic nativity story that is composed prior to all these histories of Jesus, hidden in the middle of the Apocalypse – the book of Revelation. Written just a couple decades after Jesus’ death, this story is of a woman on the run, being pursued by a dragon. At long last, she is cornered. “The dragon stood in front of the woman who was about to give birth, so that it might devour her child the moment he was born”. This child facing the dragon, against all odds, is the child Jesus.

This is the grim situation of people all over the world this Advent, far closer to the original nativity story than our chocolate calendars communicate. And perhaps this is a better text for this year’s Advent, as the world watches the fate of women and children in Palestine, Israel, Ukraine, Africa. The dragon has indeed invaded the lives of so many. The world is holding its breath.

This Christmas let’s up our Advent game. Let’s put dragons in our nativity creche displays. Take out the baby – he hasn’t been born yet! And let’s hold our breath with the rest of the world, sensing the real and present danger. What if we stretched out Advent across four weeks of waiting, of gestation, refusing to allow Big Corporate Christmas to deliver the baby prematurely? What if we used Advent for its original purpose, which is to examine ourselves for our own hypocrisy, our own violence and hatred, our own abuse of power on micro and macro levels? Perhaps then we can truly welcome Christmas. As hope for the powerless. As the possibility for peace in the midst of war. As good news for the world.

As a teenage girl 2,000 years ago prayed in hope,

My spirit rejoices in God my Savior
for he has looked with favor on his lowly servant…

He has cast down the mighty from their thrones,
and has lifted up the lowly.
He has filled the hungry with good things,
and the rich he has sent away empty.

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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