A Crucifix for the 21st Century

On Friday, Porterhouse Fine Art Editions will release a limited edition vinyl figurine of Mark Ryden’s, “YHWH” from the “Bunnies and Bees” exhibition from 2000.  What I love about Ryden, is that he engages theological concepts from various religious traditions, be they Buddhist, Hindu, Christian, what have you, from the “outside,” in.  That is to say, the artist claims no formal or institutional religious affiliation, yet his work belies a theological sophistication that, to my eye, offers wonder over disdain, curiosity over critique – not that critique isn’t welcomed.  Actually, I would argue that it is Ryden’s theology from the “outside” that provides a fresh lens for those of us on the “inside” who sometimes find it difficult to see the forest for the trees.

What strikes me about this piece in particular, is Ryden’s grasp of Apophatic theology.  Strains of Aphopatic theology within the Christian tradition can be traced as far back as Augustine.  This approach, known as “the negative way” or “Via Negativa,” holds that the Divine is ineffable and our experience of God can only be recognized or remembered, rather than accurately described.  What’s more, the imperfection of language and our finite ability to grasp the eternal necessitates that any attempt at describing God will ultimately prove flawed and incomplete.  To that end, practitioners would not make propositional statements about the nature of God or what God is, but rather, what God is not. 

Also worthy of noting is that in the Jewish tradition, “YHWH” is the ineffable and unutterable name of God.  In fact, for reasons of reverence, its utterance is absolutely forbidden in many Orthodox Jewish communities, even in prayer. 

So here I sit at my computer, looking an artist’s attempt to capture the uncapturable, in a painting named after the unnamable, and consider purchasing a $180.00 vinyl toy depicting that which cannot fully be known.  I look at the little girl’s bare feet, conveying the holiness of her Audience, her bent elbows and open skyward palms symbolizing reverence and worship.  I look at the unblinking maternal gazes of the tripartite ineffable, and I consider the omniscience and benevolence of an eternal First Cause.  I’ve never been one to collect religious brick-a-brack but, as I consider these things and find myself moved to tears, I realize “YHWH” is probably a good place to start.

Comments

[Neville]

Fascinating thoughts/observations. I've never heard someone try to explain Ryden's theology (or whatever you wish to call it), but just did kudos-justice to it. A really fantastic articulation of him and his work in so few words. It's too bad more people (particularly more church folks) aren't exposed / more open to Ryden's work.

For me, he is a contemporary, post-millennial theo-iconographer. Whenever I come across his work, it seems to be inviting me to look through it, to look past it and see something new, something old, and something in me.

[Neville]

Correction: Insert "you" in between 'but' and 'just did kudos-justice.'

It's late. My brain is tired. Forgive me.

[Christopher Min]

Cheers, Neville. Theo-iconography indeed. For my part, engagement with works by artists such as Ryden, Hirst, and others has lead me to understand the Divine to be multi-lingual; employing various forms cultural expression in the process of divine revelation. Perhaps it is for this reason that I often find the art museum more fitting a 'sanctuary' than Sunday morning 'church.'