In our lives there is a colour like that on a painter’s palette, which gives meaning to both life and art. It is the colour of love. Marc Chagall

Ludger Hinse: Crosses of Light

ArtWay Visual Meditation April 14, 2019

Ludger Hinse: Crosses of Light

Crosses of Light

by Grady van den Bosch

As for me, my work is always about touching the soul. Ludger Hinse

A few years ago I was in Bad Honnef (Germany) for the Christian Artists Seminar at the Catholic-Social Institute (KSI). In the lobby my attention was drawn to a large Greek cross hanging loosely in the space. It was made of acrylic glass, in soft colours that changed in the light when it moved. I was touched by the cross. It summarized for me something of the animated, kaleidoscopic feelings I had experienced during the seminar. And it felt like an intermediary between God and me, between my search as an artist and my faith. A few years later I was surprised to see it again at the new location of the KSI in the former Benedictine Abbey St. Michaëlsberg in Siegburg, close to Cologne and Bonn (photo 2).

Via the archbishopric in Cologne I found the maker of this work: the German artist Ludger Hinse. I approached him with a question about his cross on behalf of the art-in-the-church group of my congregation. It turned out that he had made a great number of these crosses and that he called them Lichtkreuze (Crosses of Light). In the meantime I came to know a lot more about these crosses of light and I have come to appreciate their profound and layered character.

Hinse’s crosses can be found in many churches and often constitute an artistic point of particular interest and a place of contemplation and meditation. They measure from 25 cm to 2 meters in height. Hinse uses various colours and techniques in diverse constructions. He keeps his method of designing and making the crosses a secret. He often designs a cross specifically for its location. Sabine Reithmeier (Süddeutsche Zeitung) writes: “His crosses are constructed of panes of variously coloured Plexiglass and radiate warmth, they are sun-drenched and provocatively beautiful.”

Hinse indicates that the cross of light is “not so much an image of the condemned Jesus Christ, his brutal crucifixion and his death, but that his relationship with the cross is one of redemption, surrender, of light that outshines life and death.”

Hinse: “Our faith is not a faith of sin and darkness, but a faith in the light, deeply rooted in the Jewish tradition of the Old Testament. Hinse declares that faith is unfortunately sometimes proclaimed in a very dark and sinister way. “I ask myself: does it have to be the case that Christianity, which began in such a tremendously revolutionary way, now for ever is to be so conservative? We need change. My crosses are dreams of a way to this different mode of being, they are signs of hope. They show us something that goes beyond death, they show us something of the coming world. They show us light and colours, abundance and joy and in that way they offer comfort. They can take away some of the fear of the end of life and show that behind the darkness of death there is light. As Christians we celebrate the victory of eternal life over death. My crosses are an attempt to catch the heavenly light. The cross of light allows us to see that for God death is not a power that can destroy life.”

Ludger Hinse places his crosses of light with great care: “How can I emphasize once again the atmosphere of the church’s space through my work? The ambience of a space is always the first thing to be noticed when you enter a church, not the floor plan, which only becomes clear later. I try to achieve an intensive dialogue between symbol and space by simply hanging and presenting the cross. After the installation, placing or hanging it, sometimes at staggering heights, there is always a rather tense moment to see how the cross functions in the context of the space, the lines of sight, the walking directions of the visitors, the positioning of the altar and of the viewer.”

Hinse’s artistic involvement with the subject of the cross began in 1997 in Chile, when he saw how wives and friends of victims of dictator Pinochet carried a simple wooden cross at demonstrations for their missing loved ones. By carrying the crosses they became invulnerable to military violence. Hinse was so impressed by the power of the cross as symbol that he drew his first cross in Santiago. His crosses developed in the course of years: they became more free, clearer and gained more distance from the original form and meaning. His first crosses were crosses of grief. In 2007 he made his first cross of light. That was the cross that I saw in Siegburg.  

Hinse sees a role for his crosses in the meeting and emotions of people. “The cross that I so often made as a representation of my Christian convictions caused many – sometimes even surprising – emotions. In that way I affected people’s feelings, touching them in their soul and heart. A cross like that helps us to talk about meaningful questions.” 

Hinse considers his crosses and art in general not just as contemplative or aesthetic. He is of the opinion that “art should disturb us and that art is also a kind of mirror of the condition of society and the church.” Hinse: “Art should always be arresting, placing a sign in the middle of a world that is replete with inhumanity and selfishness. We need to believe in the unbelievable, so that change is possible. Art can contribute to that.”


Ludger Hinse: Lichtkreuze – Crosses of Light: coloured or coated with coloured acrylic glass, 25 cm – 2 m across, various designs, from 2007. Photo 1:, location: Bonner Münster in Bonn (Germany), Photo 2: Grady van den Bosch, location: KSI Siegburg  (Germany), photo 3: Website Hinse, location: St Mauritz in Münster (Germany), photo 4: Website Hinse, location: St Hedwigkirche in Karlsruhe (Germany). 

Sources:, emails of Ludger Hinse,  

Ludger Hinse (1948) lives and works in the city of his birth, Recklinghausen, in the German Ruhr area. His father and grandfather worked in the mines there. Hinse’s studio is situated in a former miners’ site. He is a painter, sculptor and performance artist. He also was a union activist. His work has been exhibited in both Germany and internationally, e.g. in the Czech Republic, Ukraine, the Netherlands, Austria, Switzerland, Spain, Chile and Cuba. For more work and locations of his crosses of light, see

Grady van den Bosch has a Masters of Education in Arts. She works out of her own business STUDIO GRADY Art & Art Education as art teacher, freelance instructor in music and artist.  She obtained a Bachelor in School Music at the Hilversum Conservatorium and a Master of Art Education at the Amsterdam University of the Arts (AHK). One of her study projects researched how Protestant churches connect people with contemporary religious visual arts. She is a committee member of the Platform voor Kerk & Kunst (Church and Art), a member of the work group ArsProDeo and co-ordinator of the team Kunst in de Kerk (Art in the Church) of the Oosterlichtkerk in Huizen.



1. ART STATIONS OF THE CROSS - Last month Victoria Emily Jones (assistant editor of ArtWay) undertook a contemporary art pilgrimage through Amsterdam, curated by Marleen Hengelaar-Rookmaaker and Anikó Ouweneel-Tóth under the aegis of Art Stations of the Cross, a project founded in 2016 by Dr. Aaron Rosen and the Rev. Dr. Catriona Laing. (Previous city-specific editions have been in London; Washington, DC; and New York.) Inspired by the traditional Stations of the Cross, the pilgrimage comprises fifteen stops at thirteen locations across the city, where participants are invited to spend time before a specially chosen contemporary artwork that addresses some form of human or environmental suffering. The route starts at the Basilica of Saint Nicholas (Amsterdam’s patron saint) just across from the train station and weaves through, among other places, a park, the old Jewish quarter, a former orphanage, a church-cum–rock concert hall, a hidden house church where persecuted Catholics used to worship, and the red-light district, ending inside the Oude Kerk (Old Church), the city’s oldest extant building, located right in the heart. Not only the art but also the sites themselves were selected with intention, each one a part of the journey down this via dolorosa, “way of sorrows.” Read more (scroll down to the second and third blog).

2. ECCLESIART 100 – As we approach our 100th issue of Art & Christianity, we also want to publish the 100th entry of Ecclesiart, our online project celebrating contemporary and modern works of art in churches and cathedrals in the United Kingdom. We'd like to hear from you: what's your favourite work of art in a church? It can be in any medium, inside or outside the building. Send us an email or tweet us @art_xianity using #ecclesiart. You can also follow us on Instagram @art_xianity.

3. SUMMER COURSES AT REGENT COLLEGE IN VANCOUVER - 13 May – 7 June and 24 June – 2 August 2019, Regent College, 5800 University Blvd., Vancouver, Canada: Summer courses. Regent College, a graduate school of Christian studies in Vancouver, is offering six arts courses this summer—week-long intensives. The topics are prehistoric art and meaning making; George Herbert; John Bunyan’s Pilgrim’s Progress; grace and forgiveness in contemporary theater (with key scenes played out in class by guest actors from Pacific Theatre); love and longing in poetry and theology, taught by Malcolm Guite (the reading list includes Dante, Herbert, Tennyson, Eliot, Augustine, Aquinas, and Lewis); and “Moral Imagination: Peacebuilding Using the Arts.” There are no prerequisites, and you don’t even have to be enrolled as a seminary student to participate. The cost to audit is CAD$350 (about US$261), with for-credit options costing more. For more information or to register, visit the links.

4. ARTS + WELLNESS VERGE CONFERENCE IN LANGLEY BC, CANADA - On 26 September – 27 September 2019 the 12th VERGE CONFERENCE of the School of The Arts, Media + Culture, co-sponsored by the School of Nursing, will take place at Trinity Western University, Langley, British Columbia, Canada. Submissions are welcomed from any discipline that engage any topic relating to the arts and wellness. Please submit presentation abstracts (300 words) and a short bio (100 words) to Presentation length is 25 minutes with an additional 10 minutes for discussion of each paper. We welcome nonconventional forms of presentation, including lecture-recitals and other performances (a different time frame may be proposed). In order to facilitate discussion throughout the conference, no more than thirty presenters will be chosen to present and there will be no more than two concurrent sessions. The deadline for proposals is May 21, 2019, with notification of acceptance by June 15. The Verge is a scholarly initiative of TWU’s School of the Arts, Media + Culture, aimed at exploring interdisciplinary intersections of the arts with various other disciplines and cultural concerns. Past conferences themes have included spirituality, the Inklings, environment, ethics, knowing, social action, and identity. file:///C:/Users/Marleen1/AppData/Local/Microsoft/Windows/INetCache/Content.Outlook/UHDZ3AK0/CFP%20Verge%20Conference%202019%20FINAL-compressed.pdf

For more exhibitions, lectures, conferences etc. inside and outside your country, click here

ArtWay is a website with resources for congregations and individuals concerned about linking art and faith.


Other recent meditations:
- April 2019: Paul van Dongen: Judgement and Rising
- March 2019: Arent Weevers and Janpeter Muilwijk
- March 2019: Güler Ates: Water no longer dances with light
- March 2019: Erica Grimm: Salt Water Skin Boats

For more Visual Meditations, see under Artists