Creativity is intelligence having fun. Albert Einstein

Bob Booth: I am Your Neighbour

ArtWay Visual Meditation September 22, 2019

Bob Booth: I am Your Neighbour

Neighbours, Enemies, Friends

by Rod Pattenden

The story of the Good Samaritan is a familiar one, so much so that its very mention tends to celebrate a comfortable kind of religion as listeners reassure themselves of their place in the story. We should be reminded that in its original context it was a story that was utterly shocking to its first hearers. It dramatically crossed boundaries that were simply inconceivable for those listening. If this parable had been taken seriously, it would have upended cultural and religious conventions that had been carefully policed and reinforced. It is a story that has drawn many artists to re-invigorate in fresh ways both its attraction and its threat. For artist and priest Bob Booth it is a story worth the effort of exploring its potential to upset allegiances and to re-examine values and ethical actions in the contemporary world we inhabit.

Booth takes us into the drama of the story by placing the viewer just above the action, taking in the injured figure, helper and the passers-by. The composition allows our eye to sweep around the scene taking in both human actors and the compressed space of the landscape. Our eye comes to rest, after making this aerial survey, firstly on the hand of the fallen man and then to the hand of the ‘Samaritan’ with a finger decidedly pointing in our direction. We are drawn in, complicit, involved viewers, who are close enough to lend a hand and yet remaining fixed outside the picture plane. It is both a simple and yet complex composition that has been carefully crafted to include us in its sweep. The brush strokes and coloration serve to heighten its dramatic focus and its sensual textured surface emphasises a tender and compassionate moment. This painterly seduction only heightens the tension the viewer feels about a decision on whether to get involved.

The fallen man is somewhat reminiscent of a Christ figure, partly naked with a white cloth over his legs. What is utterly unfamiliar is the facial features of the helper and the skull cap that marks him out as a follower of Islam. Muslim men will often wear the white Taqiyah (Arabic for skull cap) as a sign of respect. This is worn especially during the five periods of prayers required each day. Bob Booth comments: ‘Had the parable of the Good Samaritan been presented in Australia today, I think that there would have been every chance that a Muslim would have taken the title role. I sometimes wonder how we manage to read this parable in church without causing a riot!’ The shock of this painting is appropriate to its original intentions to cross over the sharp divide of social enmity found between Jews and Samaritans. While they shared common ancient traditions, they were passionately divergent about the physical location of the most holy place to worship. Such enmity is echoed in contemporary ways as we have witnessed the terrible acts of violence in New Zealand and then in Sri Lanka during the first half of this year.

Underlying the disturbing shock of this story of hospitality and compassion is the boundary breaking words and actions of Jesus in upsetting the religious conventions of his day. In the material actions of touching the untouchables, speaking to women in public, challenging religious leaders, breaking the Sabbath, feasting rather than fasting, Jesus enacts a more passionate and generous vision of who God might be. Bob Booth takes this as evidence that Jesus had his eye not on the rules and regulations of religious formalism but on something completely in opposition to such strictures. ‘It seems to me that Jesus was intoxicated with an audacious thought of goodness and beauty, a joy that was set before him for which he would endure anything.’ This familiar story is therefore not so much about kindness or the virtues of middle-class niceness, but rather a way of seeing other human beings as being made in the image of God. It is in the encounter with strangers, or even perhaps with enemies, that we find our heart expanded and we see the possibilities of God’s grace at work in the world.


Bob Booth: I am Your Neighbour, 2010, oil on canvas.

Bob Booth is a successful figurative artist, born in the UK, who trained as an art teacher and then later as a priest, before moving to Australia. Bob captures spirituality, light, colour and movement in an atmospheric way. He is also a skillful teacher and inspiring public speaker. Bob has over 30 years of experience as an artist, he has had many solo art exhibitions worldwide, was accepted as a member of the Manchester Academy of Fine Arts and has a commissioned portrait of the Dean of Windsor hanging in Windsor castle. In Australia he has been a successful exhibiting artist and art teacher. He maintains an online education website sharing his passion for teaching art.

Rod Pattenden is a curator and art historian interested in the power of images and the manner in which they work in the context of spirituality and religion. He is minister of the Adamstown Uniting Church in Newcastle, Australia, where he has developed a vibrant community arts program.



1. TRANSFORMATION OF CHURCHES FOR CULTURAL PURPOSES IN POLAND AFTER WORLD WAR II. Transformation and reuse of places of worship is not a new phenomenon. It was carried out many times in the past, and also in Poland. The destruction of World War II and communist rule until the end of XX century had a direct impact on the current religious and cultural situation in the country, leading to many post-WWII church transformations. Read more

2. REVIEW THEOLOGY AND THE ARTS SYMPOSIUM IN AUSTRALIA – On 12-14 July 2019 the Anglican Parish of Woy Woy hosted ‘Vessels: Theology and the Arts Symposium’. The goal of this symposium was to draw together theologians, practicing artists, clerics, philosophers, and poets to explore the relationships, intersections, and challenges that exist when the arts and theology come together. The three-day forum offered participants a multimodal and experiential platform to encounter the interdisciplinary interactions between the creative arts and theological theory. Over the three-day event, seventy participants listened to and interacted with five extraordinary keynote speakers, and a further seventeen short paper presentations. Additionally, those involved had the opportunity to participate in three creative workshops, listen to poetry performances, an interactive prayer space, and engage with the artworks displayed in the exhibition. Read more

3. NEW BOOK – Stephen Miller, The Book of Angels: Seen and Unseen, Cambridge Scholars Publishing, Aug. 2019. Both collectively and individually we have a deep and abiding fascination with angels. This book explores depictions of angels in the visual arts and in scripture and associated apocryphal and mystical writings, specifically in the Hebrew and Christian Bibles and Islamic, Zoroastrian and other ancient and latter-day accounts. It examines the visual clues, artistic conventions and attributes that have been set down to help us to recognise angels in their particular roles and functions. Certain writings have had a particularly influential bearing on our understanding of angels. This text focuses on the hierarchies and orders proposed by the likes of Pseudo-Dionysius, St. Thomas Aquinas and others. A stimulating go-to source for those interested in the world of angels and how human sensibilities and imaginative reasoning have enriched the subject, as a starting point for interreligious dialogue.

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:
- October 2019: Dmitri Plavinsky: Leaf in the Wall of a Church
- October 2019: Kirsten Van Mourick: The Space Between
- September 2019: Jan die Wael: Three Ladders
- September 2019: Friedl Dicker-Brandeis: Art in Terezín

For more Visual Meditations, see under Artists