REviews : The Passion in Art
by Madeleine Peck

 

"Propaganda at its Worst"

 

According to Christian mythology, Christ died on the cross and was resurrected 3 days later. This was preordained and therefore theoretically inevitable. And yet, these inevitable events, these soul-saving, world-changing events, are endlessly debated with blame assigned. All parties involved share the guilt and this has been used as a motivating factor in the business of saving souls for thousands of years.

 

A picture is worth 1,000 words and imagery that told the tale of the Christ was a sure way to win souls in an easily dazzled, early Christian world. Thus, the Church began systematically inundating Christian communities with powerful imagery. In the creation of these paintings, the Church commissioned the best and brightest artists to illustrate the story of Jesus Christ and his disciples. The works created were masterpieces that continue to inspire and amaze.

 

In 1994 art collector, Michel Roux commissioned 14 artists to interpret the Passion of the Christ. The catalyst for this magnanimous gesture was a small church in the South of France that had no religious iconography. However, those artists chosen to participate where not only creating commissioned artwork, they were placed in the company of the masters. As a collective, these artists are out of their league. The works are on display in a show entitled, “The Passion in Art and Jazz” at St. John’s Episcopal Church in Downtown Jacksonville.

 

“The Passion in Art and Jazz” attempts to take a fresh look at the Stations of the Cross. Each of the 14 stations was illustrated by a different artist, and in a different style. The result is a cacophonous show highlighting the disparity that exists between popular culture and religious iconography. The opening night of the show also had a jazz group, Rain, playing works that had been commissioned to reflect the theme. While some of the piece played were hauntingly melodic, and others up-tempo jazzy, other were confusingly literal. The lead singer at one point attempted a gospel song and just didn’t have the chops to back it up.

 

Ginny Ruffner’s “2nd Station”

The most effective works in the show are those that do not attempt to mirror the masters, and instead use contemporary methodology and thought. Ginny Ruffner’s “2^nd Station” Jesus is made to carry the Cross; is a much more esoteric depiction of the event. Painted on board, the work depicts a peach -cut open - with a golden halo surrounding it. The artist’s decision to depict Jesus as the fruit of God, with the pit -his heart- revealed is lyrical and simple. It reinforces the delicacy of life with the ability to continue after the flesh has died. The work is graceful and straightforward marrying the icons of the past, with inexplicable post-modern imagery.

 

Julia Watcher’s piece, “13^th Station” Jesus is taken down from the Cross; is the image of his deposition. This image is taken from Nicholas Ray’s film, “King of Kings.”  By appropriating another’s imagery, Watchel reduces her emotional investment in the work. Her participation is reduced to technological tampering. Running “King of Kings” through a VCR, then photographing the paused image and photographing it, created “13^th Station.”  From the photograph a silkscreen is generated and the image is printed. The piece, while intriguing -the viewer is forced to make out the scene through the lines that make up the television image- is a greater statement on the dissemination of the Jesus legend and the technology that made it possible, than the event itself.

 

Less successful is Avital Shlomo’s “7^th Station” Jesus falls a second time; the work depicts a day-glo Jesus out of context and out of perspective. There is little or no consideration for the composition; the painting looks hasty and poorly painted, like a sketch in a high-schooler’s yearbook. While the neon colors may be a reference to pop culture, they look like the only paints the artist had handy.

 

A limping homage to Salvador Dali makes an appearance here as well. Both John Pacovsky and Rick Garcia attempt to utilize Dali-esque twists and turns of form and color. However, unlike Dali’s complex and surprising works, these paintings are amateurish and inelegant.

 

Overall, “The Passion” is lacking in just that- passion. The works here are staid and poorly conceived lacking the visceral conviction that would have saved the exhibit. It is as if the artists deliberately chose not to commit to this project. This project could have provided insight and enlightenment into the way religion and icons exist in the 20/21 centuries. Unfortunately an opportunity to open a lively discussion was missed.