When life seems faded and pale, a dim echo of glory, or surreal, too busy and bright,
you can rest, friend, and trust the Artist, because you are not self-made. “We are God’s masterpiece” (Ephesians 2:10, NLT), all of us being loved together into a Life more magnificent than we can dream.
Masterpieces aren’t made in a day. There are stages and phases and layers, and if you try to rush the peach onto the blue, you just end up with mud. “Soul work is slow work,” a wise friend says, and the master Artist delights in each step of the process. “We who with unveiled faces all (already!) reflect the Lord’s glory, are being transformed into his likeness with ever-increasing glory, which comes from the Lord, who is the Spirit.” (2 Corinthians 2:18)
And we can be “confident of this, that he who began a good work in [us] will carry it on to completion until the day of Christ Jesus.” (Philippians 1:6)
We are His masterpiece, continually being loved toward completion by the One who delights to claim us as His own and sign His name to us.
Painting and photos of the stages by Patricia Herrera.
In the northern hemisphere, this is the time of year when coloured pencils and binders are on sale, the nights are starting to cool, and the picnic basket has been traded in for school bags or briefcases. There’s excitement in the air—the goodness of beginning fresh—and sometimes also a bit of heaviness as we leave summer behind and enter the season ahead.
When change is in the air, I need to pause and look back before moving forward. What do I want to take with me? What will I choose to leave behind?
As we begin this season, I’m holding close the memory of a day last week, turning it over and exploring what it tells me about the God who is going before me and with me into the fall.
I was staying with friends for a few days. I’ve never considered myself a visual artist (particularly since the teacher in our mandatory grade ten art class informed me that my perspective was “screwy as hell.”) But I’m drawn to beauty and color, and my friend, Linda, a watercolor artist, was helping me learn to play with paint. Together we gathered leaves and ferns and grasses and arranged them in wet paint, allowing the beauty of their forms to pattern the page and delighting in the surprise of how the colors merged and mingled.
One afternoon, we set aside the paint and went to walk a nearby trail.
Dragonflies hummed by, and I tried repeatedly to catch their image with my camera, eventually whispering the longing in my heart, “Oh, God, even from a distance they’re so beautiful. Could you bring one close enough that I can really look at it?”
But they were too quick and eventually I had to stop trying to grasp a gift that wasn’t being given and get on with receiving the gifts that were being given that day.
The following morning, Linda went out to get the mail. There, by her feet, was a perfectly formed dragonfly. His brief lifespan had ended, and the God who knows each sparrow that falls evidently keeps track of dragonflies too, letting this one bring Him glory even in his death.
As I sat and looked and worshiped the Creator, turning his tiny creature around and around in the light of the new day, I pictured God smiling as he’d received my prayer the previous day and planned the surprise for the following day, whispering, “That gift is for tomorrow.”
I can be tempted to feel like the gifts of vacation are for a few days or weeks only, and to feel sad or heavy as I leave vacation behind. It is true, particular gifts are for particular days. But the heart from which they come does not change,and each day holds new gifts.
“The faithful love of the Lord never ends!
His mercies never cease.
Great is his faithfulness;
his mercies begin afresh each morning.”
Lamentations 3:22-23, NLT
We move into this new season preceded and accompanied by the God who has created us and the world around us—the dragonfly’s compound eyes, the fine hairs on its back, the lace of its wings—and who delights to show us his love in the details of our daily lives.
May we be given eyes wide to see God’s goodness, and hearts open to delight in Him as we begin this new season with Him.
We’re a week into 2019, a week into new hopes and dreams and intentions, new directions and new words for the year. As I take my next steps into 2019, I’m so grateful for the church calendar that reminds me that the new year began back at the beginning of Advent, and that the foundation on which to build this next year of my life has already been firmly laid in the story we’ve just lived through with Mary and Joseph and Jesus.
On the first Sunday of Advent, baskets full of ribbons were passed along the rows of worshippers and we were each asked to select a piece of ribbon and personalize it, writing a line of a hymn, a prayer, our name—some little offering of ourselves and our lives. Then, week by week, we watched as those ribbons were woven into banners standing at the front of the sanctuary. The weavers began from the top and bottom of the banners, line upon line of golden shades, then rich reds, slowly working their way in toward the middle. Below the platform where the worship team leads us, where the preacher speaks the words of God, was this steady reminder that as we listen and sing and pray, our lives are being woven into a beautiful tapestry.
For the first three Sundays of Advent, all we could see was bands of gold and red slowly taking shape at the top and bottom of the fabric. Even in themselves, they held beauty, a little of God’s glory imaged in the multi-toned layers of our lives.
And yet, they were somehow empty too. Incomplete. Mysterious. What was taking shape? Were these bands of color—as beautiful as they were—all there was? I was faintly disappointed. But only because I hadn’t waited long enough.
We met two days before Christmas on the final Sunday of Advent, and there, in the middle of each banner, in white ribbon, the needed centre was finally taking shape. Or, rather, the centre that had always been there but not yet visible began to appear among us in a form that we could recognize. A name on one banner. A title on the other. Jesus. Christ. Disappointment made way for joy as the centre was filled, the lines of red and gold now shining with new beauty as they took their proper place not as the main focus of the image, but as pointers, our lives put in proper perspective by the One at the centre. The banners have hung at the front of the sanctuary through Christmas and the turning of the year and on into the season of Epiphany which has now begun. Epiphany—the revealing of Jesus’s glory—isn’t this what we all need every day of this new year? Our small lives gathered up into his, woven into his story, with Jesus shining forth at the centre of our lives and our communities?
I often begin the new year pondering and praying about a word for the year. This year I’ve wondered about several. There are places I’ve become lazy, and I want to grow again in discipline. But what is discipline if my life isn’t marked by love? And the truth is that unless my discipline is rooted in love, unless I really want to do something, my desire fuelled by love, my will-power falls flat pretty quickly. Or gets sidelined by fear.
Love, then. I long for my life to be marked by love. For that to happen I need to keep making my home in Jesus’ love. But as I sit with the word, I find that when it comes right down to it, even love as a guiding word for the year feels empty. It is, of course, a crucial part of the weaving of a meaningful, beautiful life. But even love finds it proper place not as the centre but as a pointer, guiding me back to the only One who can fill that central place, the One in whom everything holds together and from whom love comes. All my hopes and goals for the year, no matter how significant, only have meaning when they take their proper place around Jesus. Without him at the centre, even the best dreams are meaningless, the best goals both irrelevant and impossible.
This, this, is the Word I want written on every piece of my heart, every moment of my days. This is the Word that holds me together, weaving all the bits of life into a whole that makes sense. JESUS.
It was an unusual experience. We were high up in the balcony of the theatre. The seats directly in front of us were empty except for a woman with exceptionally tall hair. In the next row up was a family with two children. The older, a young teen, leaned her head first onto the shoulder of her mother and then onto the shoulder of the woman sitting on her other side (an older sister home from college? a young aunt?). Eventually she curled up in her seat as best she could and appeared to sleep. The younger child, perhaps eight or ten, handed her program to her sister/aunt, took it back, handed it back again. She tapped her aunt’s elbow for attention and whispered something. Occasionally she looked at the performance taking place on the stage below her.
Two women to our left chattered in whispers. The whole audience seemed restless. I’ve never seen so many individuals leave during a performance. Some re-entered.
I was frustrated and puzzled, feeling in myself, too, the inability to settle that I could see all around me. Why? What was going on? I’d been looking forward to this performance of Handel’s Messiah. As I bussed to the theatre, I’d consciously released the events of my day to God, preparing to settle in, savor the music, and let it lead me into worship. But it wasn’t happening.
Gradually I began to understand.
In the moment the orchestra began the overture, I’d felt out of breath, trying to keep up, holding onto the arms of my chair as though to slow us down, to keep us together. To keep myself together, maybe. The music had slowed when the tenor sang “Comfort ye, comfort ye my people, saith your God,” and I’d breathed deeply. The choir entered, perfectly together, singing beautifully. And then we’d sped up and again I’d felt like I needed to hold on, to slow us down with my hands as though seatbelting myself in, trying to defend against a crash. Once the conductor had stopped the orchestra a few bars in and started again. I suspect the changing tempo was meant to highlight the words, to provide helpful contrast. In effect what I experienced was auditory whiplash and an unsettled soul.
Still, there were glimpses of grace—grace that I might not have seen if I’d felt settled from the start:
A single note where the tenor hung alone, opening a moment of spaciousness whose holy grace remains with me, reminding me that beyond the hustle there is a still point. Behind the rush, the show, the frothy mix of motives and emotions, Reality waits. And He is gracious and spacious and good.
My always-favorite duet where the soprano and alto remind us that “He shall feed his flock like a shepherd: and he shall gather the lambs with his arm, and carry them in his bosom and gently lead those that are with young,” and therefore we can “Come unto him all ye that labor and are heavy laden, and he will give you rest. Take his yoke upon you, and learn of him, for he is meek and lowly of heart, and ye shall find rest unto your souls.”
And this: Three-quarters of the way through the concert, the first notes of the Hallelujah chorus sounded. Together, we stood. The people who had been restless stilled. The chatterers stopped. The teen in front of us slept on, but the two women lifted the younger child to her feet to stand with them. And as all the voices of the humans and instruments sang together, I understood all over again: Life may drag us along, stealing our breath with its speed, giving us whiplash with unexpected changes of direction or tempo. Our best attempts to make art or serve others may not turn out in the way we hoped. A performance or a project may disappoint. It is not the end of the world. Because on this truth we stand, and in this hope we once again find our center, our courage, and our voice to join with the multitude which sings around the throne:
“Hallelujah, for the Lord God omnipotent reigneth.
The kingdom of this world is become the kingdom of our Lord and of his Christ;
And he shall reign for ever and ever.
King of kings and Lord of lords.
I walked into the room and sat down in a comfy chair across from my spiritual director. The table next to us held a glass of fall flowers, the small cross that I love to hold, and, behind the candle, a small, colorful painting.
I almost always love the way my spiritual director arranges the physical space for our times of listening together. The colours, the ways the various items offer reminders of life while holding space for needed lament, and the reminder of the presence of Jesus in the midst of it all—together they offer a hospitality that helps settle me and open me up to God. But (confession time) I used to groan inside every time my spiritual director chose to use this particular painting as part of the arrangement. I couldn’t look at it without recoiling from it. I didn’t want to look at it long enough to try to understand it. I didn’t say anything. I just looked elsewhere to avoid what looked to me like a red misshapen face or a miscarried fetus, a small green face layered with distorted orange-red like a frightening Halloween mask. I quietly wondered what beauty my gentle spiritual director could possibly see in such a fearful image.
But this time, instead of turning away, I found myself turning toward it. I’d begun to notice the change in me the last time she displayed the picture. That time, instead of focussing on the fearful red, I’d seen, instead, the white face, quietly attentive to the small one. I hadn’t spent long with the image that time, but this time those beginnings of different seeing drew me in so I could hardly take my eyes from the picture. This time, as I struggled to find words to tell my spiritual director about an experience in which I’d found space to be myself and had felt loved, I ended up motioning toward the image and saying, “It was like that. Safe.” Now the image showed me the most tender scene I could imagine—the larger person with the white face holding the small one, offering a calm, steady gaze in which the child could begin to learn that she existed and mattered, and was seen and loved and safe. This time, instead of turning from the image, I turned again and again toward it, hungry for the gentleness it portrayed, and aching to feel once more the hand cupping my head and see the face that never leaves or looks away but keeps steadily loving, quietly holding me in being and making me who I am.
At first, I was so absorbed by the beauty of the interaction that I didn’t look at anything other than the faces. I kept turning to see that white face tenderly looking at me, the hand cupping my head. But later, as I looked again at the painting, another surprise was waiting. The red that I’d first interpreted as death and distortion was, in fact, a heart—the life-giving love that filled the relationship. It wasn’t the love that was distorted. It was my seeing. And once my eyes were taught to see, I didn’t want to stop looking.
I could also now see, and delight in, the mystery in the painting—the flowing, fiery colors shaping themselves into the heart that frames and sustains the interaction. This is not a love that I can create or control, or even fully understand—and that is part of its beauty. It’s vast and wild and tender and freely pouring itself out to me, and never going away.
I wish I could find the words to do justice to a book I read this summer that offered me a fresh glimpse of this tender, fiery, mysterious love that takes my breath away with its magnificence. The book is called Cross Vision: How the Crucifixion of Jesus Makes Sense of Old Testament Violence, and in it Gregory A. Boyd reminded me of something I already knew: Jesus is the perfect revelation of God—a God who loves so deeply, and is so committed to our freedom and flourishing, that he stoops low to be in relationship. That relationship includes meeting us where we are and willingly bearing our sin as he not only acts toward us but lets us act on him. But God’s willingness to stoop and let people act on him did not begin with Jesus. All through the preceding history, God stayed in relationship with his people, continuing to love even when they saw him through dim eyes and could only understand his character in light of their culture around them. Like a parent with a tiny child, God let himself be understood in the only ways the child could understand him at that stage, and slowly, as the child grew, continued to reveal more and more of himself. There is no other way for a child to learn, nor, for that matter, for anyone to learn the heart of another. We have to start from what we know, and slowly, with experience, grow deeper into the truth.
. . . God has always revealed his true character and will as much as possible while stooping to accommodate the fallen and culturally conditioned state of his people as much as necessary. In his love, God was willing to allow his people to think of him along the lines of an ANE [Ancient Near East] warrior deity, to the degree this was necessary, in order to progressively influence them to the point where they eventually would be capable of receiving the truth that he is actually radically unlike these violent ANE deities.
. . . [B]y making gradual changes, God beguiled his people into the gospel, wherein it was revealed that God would rather be killed by enemies than kill them.” (Cross Vision, 73-74)
And so we are invited to look and keep looking into the face of love which is gazing on us, and to slowly learn to see there both who God is and who we are.
Now the Lord is the Spirit, and where the Spirit of the Lord is, there is freedom. And we all, who with unveiled faces contemplate the Lord’s glory, are being transformed into his image with ever-increasing glory, which comes from the Lord, who is the Spirit. (2 Corinthians 3:17-18)
And now, may we each live in the blaze of this blessing which God himself commanded his priests to pronounce so that his people would always know that the face that looks upon us is one of blessing and grace and generous peace.