Art, like prayer, is always an expression of longing. Wendy Beckett

Interview with Peter Koenig

Interview with Peter Koenig

by Jonathan Evens

Peter Koenig knew from a young age that his vocation was to be a religious artist. He told his Art School Head that was the case and undertook a further course of study at the Visual Arts Academy in Nuremberg to study frescos in particular, but also graffito, fibre-glass and engraving, because he was dissatisfied with the blandness of much contemporary religious art.

Over the course of his lifetime he has read the 73 books of the Bible many times, primarily using the Jerusalem Study Bible to explore cross references in the story of salvation. His paintings are based on the imagistic interwoven connections that Koenig has explored through his regular and deep reading of Scripture. His practice demonstrates that the way to avoid blandness in religious art is immersion in Scripture.

Stephen Holmgren has written that Koenig’s paintings are profoundly biblical while not being literal. That seems to me to be the reverse of what Koenig does in his art. Koenig gives us literal representations of the images that Scripture uses to describe salvation. Just as Scripture interweaves these images throughout the drama of the salvation story, so Koenig interweaves them on his canvases. Holmgren rightly notes that thereby Koenig is seeing and showing ‘the mystical connection between the Old Testament and the New.’ The result is somewhat surreal, precisely because the scriptural imagery that Koenig uses is surreal.

Christ the Bridegroom, the Resurrection and the new man, all the teaching and dramatic actions of Christ especially the Parables; these are among the images Koenig has used for their inherent drama. Images such as Christ weeping in Entry into Jerusalem or The Good Shepherd and Leviathan, with the Risen Lord stepping out of the mouth of a sea monster, are powerfully compelling, although unusual depictions of their subjects. Both utilise lesser known biblical imagery and understandings of the texts that are psychologically astute. Peter notes, for example, that leviathan is a monster that swallows up its victim like death and links this to the line in Psalm 30, ‘You have brought up my soul from Sheol.’

Koenig’s faith was formed in pre-Vatican II days as he makes crystal clear in this interview, yet his art reveals complex depths and an openness to interpretation because his deeply held beliefs make the imagery of Scripture the foundation of his work. As a result, the complexity and drama of Scripture is front and centre in his work.

Koenig has said that the goal of his life has been to make a richer Christian-Catholic art by painting the drama, romance and poetry of the sacred book. In this interview we explore the way in which he has approached this task.

JE: You have said that ‘One must first have a sense of the mysterious, the holy, before one sets out to be a religious artist.’ I want to explore with you the two parts of that statement, beginning with the understanding that you specifically set out to be a religious artist having decided, as a teenager, to paint religious subjects. Can you explain more about your thinking and motivations at that time? How did a sense of ‘the mysterious, the holy’ manifest for you then and also now? Are there differences between the two? Why is this sense so important for a religious artist? 

PK: I feel somehow that the first question is not merely a personal question. Abraham set out from Ur. He was following the call of God (and how much does that word contain!). We are not born with a language or knowledge of the past, we have to be taught it by word and action. That is what Christian education seeks to do. Holy mystery is learnt by going to the Eucharistic Assembly-Mass. At Mass as a child I was brought there to meet God. So when the priest paid our family a visit I would excitedly cry, ‘God is coming!’

JE: The art school that you attended was staffed by agnostics and was, therefore, not the best place for one, like you, who wanted to produce sacred art. How difficult has it been for you to pursue your vocation as a religious artist in our secular society?

PK: When I went to the High Wycombe Art School (now Amersham), I told the headmaster that I wanted to produce and study religious art. He (an agnostic) said all art is religious. That is both true and false at the same time. The Art School, from a Christian perspective, was disappointing but that is another story. But escaping that place after I had finished the course I could feel free to set my own course.

JE: You describe going to Art School knowing the calling of God on your life - to produce religious art - and you seem to have pressed on towards the realisation of that calling despite misunderstandings or discouragements (particularly when training as an artist). Once you left Art School you could then set your own course and have since consistently created paintings that use the huge diversity of imagery and story with the Bible for your inspiration. You responded to your calling as Abraham did his, yet the letter to the Hebrews tells us that Abraham was among those who died in faith without having received the promises. That doesn't appear to be the case for you, as your calling to create religious art would seem to have been achieved. How do you view the journey of art and faith that you have undertaken and the work that has been made as you have journeyed? What have you learnt about art from your journey and what has the making these artworks taught you?

PK: How do I view my journey of faith and art? What have I learnt from my journey and what has the making of these artworks taught me? Those are very introspective questions. Well, not every style of art is equally suited for the subject or every book of the Bible. I usually remind myself that all art is transient. Indeed, ‘all flesh is grass and like the wild flower it fades, the grass withers, the flowers fade but the Word of the Lord is forever!’

JE: Carl G. Jung has been an influence on your work and thinking. How has that influence and the ‘worrying things rumbling about in the dark regions of the soul’ shown itself within your work?

PK: Talking about Carl G. Jung for a moment, I read him before Vatican II. I am one who does not approve of much that followed on from that event – something is being downright silly.  But Jung’s influence, such as it was, is revealed in Christ stepping from Leviathan, rescuing a sheep. I believe he writes somewhere of the Hero, or the self, needing to face the abyss to overcome it. But it is a long time since I read his Collected Works.

JE: Pope Francis has implored artists to ‘make the deep beauty of God’s love visible’ and to help people ‘discover the beauty of being loved by God and bear witness to it in attention shown to others, especially those who are excluded, wounded and rejected in our societies.’ Beauty, he has said, is a much better path to understanding than technology and he has, therefore, urged artists to create and safeguard ‘an oasis of beauty,’ especially ‘in our cities, which are too often filled with cement and lacking soul.’ The letter that Pope John Paul II wrote to artists in 1999 was for those who are passionately dedicated to the search for new ‘epiphanies’ of beauty so that through their creative work as artists they may offer these as gifts to the world. What is there in the statements that the Church has made about art and artists that resonates with your own understanding of your calling?

PK: You gave a nice quotation from Pope John-Paul II, but Pope Francis is a quixotic individual. He seems more interested in Globalism (who will sit at the top of that pyramid?) than in his flock. Would he really lay down his life for the sheep? What would St Peter and St Paul make of his party in the Vatican Gardens with the ‘Pachamama Idol’? How about his, ‘God willed all religions’? What does that mean, apart from something trite? Rome, the ‘city of martyrs’? Would he have been one? As for martyrs, I have of course painted martyrs; namely St Ignatius of Antioch and Blessed Franz Jaegerstaetter who appears in several paintings. (The Birth Pangs of the World and Wisdom is the Tree of Life)

I associate ‘Wisdom is the tree of life (to him who holds fast to her) [Proverbs 4:13, 18]’ with the following quotes:

‘Oh, this cowardly fear of me! Because of a few jeering words spoken by our neighbours, all our good intentions are thrown overboard.’ (From Franz Jaeggerstetter’s letter to Franz Huber)

‘But Christ too, demands a public confession of our faith, just as the Fuehrer Adolf Hitler, does of his followers.’ (From his article ‘Little Thoughts concerning our past, present and future’)

The lady on the left holding Franz Jaeggerstetter’s head is the tree of Wisdom. In the centre, we see Jesus on the cross, which is a tree and a person carrying the executed, surrounded by hanged men who represent those who were martyred by the Nazis in Poland. Franz was executed by beheading, hence the headless corpse on the right. Then on the right side we have the tree of reckoning, holding the noose.

JE: You have suggested that ‘Catholic Art in England is preoccupied with a devotional range of subjects’ but that ‘there is much more imagery in the Bible’ than is tapped through those devotional subjects. Is your sense that Christian-Catholic art can be richer to do with utilising the breadth of biblical imagery? 

PK: In 1966 I acquired one of the first editions of the Jerusalem Study Bible with copious notes (and printer’s errors). Christianity is for want of an inadequate word, Jewish. That Bible has all the cross references of the ‘Story of Salvation’ a man like me could want. What a fascinating collection/ combination of books it is! In the Catholic tradition there are 73 books and I have read them all many times. The story of salvation begins with Abraham and I suppose continues today.

JE: Your work has depth and complexity because you understand and utilise the breadth of imagery within the Scriptures and the linkages between the many books. Understanding the imagery of leviathan and its relevance to Christ's resurrection suggests an engagement with Scripture and an understanding of its themes that is unusual in an age when knowledge of the Scriptures seems diminished, even among the faithful. How can we recover the kind of engagement with Christian education that you enjoyed as a child?

PK: May I start with a sort of question? Is life a ‘Thompson Holiday’ or is it a drama? Well! Now with the Covid bug it seems very much a drama. Reading the Bible, it is all drama with exceptions. You are quite right the Bible is not read for interest, fascination and wonder which may be due to how it is taught. A missionary was having a hard time getting the ‘Word of God’ over to his Hindu audience. So he tried acting and yes, drama. The people said ‘Now we understand what you are saying!’ I could image the story of Jeremiah being performed by school children and getting a good response. Jeremiah confronting his fellow Jerusalemites and being thrown down a well; the city ransacked. You know there are lots of people preaching the Gospel very well but painting has a good supporting role to play. I’m sure some of the images which I painted from the Bible, like the little boy putting his hand in the snake pit, must get some reaction from youngsters.

JE: You have said that the goal of your life has been to make a richer Christian-Catholic art by painting the drama, romance and poetry of the sacred book. Reviewing your work, where do you think you have come closest to achieving this goal?

PK: For The Birth Pangs of the World I give this quote: ‘From the Beginning till now the entire creation as we know has been groaning in one great act of giving birth and not only creation but all of us who possess the first fruits of the Spirit... We groan inwardly as we wait for our bodies to be set free.’ (Romans 8:22) In this painting we have the drama of Christ’s victory over death, to which people like John the Papist and Franz Jaeggerstetter give witness. The birth pangs are literally represented by the pregnant woman in the centre and the whole church participates in and experiences this passage from death to life in Christ. We are especially aware of this in our time when all churches are undergoing the pangs of renewal, while striving for unity. All the squares on the earth that Jesus sits on are tombstones of past generations. And you have further reminders of death with the burial at the bottom, and the Vietnamese monk burning himself alive in the corner in protest at the Vietnam War. The moon could potentially be a place where people will live and eventually be buried there. You can also see the wolf lying down with the lamb, and behind Francis of Assisi. In the centre you have Jesus crowned in victory, with Mary at one side, embodying the church, and the deer thirsting for water from Psalms.

JE: Your paintings are displayed periodically within the Parish of St. Edward’s (Roman Catholic Churches serving the communities of Kettering, Burton Latimer, Desborough and Rothwell). Permanent works appear on the chancel in St. Edward’s and St. Bernadette’s churches. Can you tell us more about opportunities to see your work in a church context and commissions you have undertaken?

PK: The originals? Where are they? St Edward’s Church has a hall where many paintings are on a sort of permanent display. Many of the paintings are in private hands, three in Germany, four in Austria, and Belgium must have a dozen or so. There is even one in Japan and one in Canada. I have a selection, mainly of earlier work, but a cross section of others. I have quite a number I have never publicly exhibited - except for now on the Internet.



1. The Good Shepherd and Leviathan

2. Peter Koenig at work on Jeremiah down the Well, a painting begun during the course of this interview (copyright Gaby Koenig) 

3. Wisdom is the Tree of Life 

4. Boy and Snake

5. The Birth Pangs of the World 

Peter Koenig’s parents left Austria just before the German take-over and he was born in London in 1939. He was educated at St Benedict’s School, Ealing Abbey, London, where he later taught for 25 years. He gained his Diploma in Arts and Design in High Wycombe and his teaching Diploma in Leeds. In 1967 Peter Koenig went to the Visual Arts Academy in Nuremberg to study frescos in particular but also graffito, fibreglass and engraving. He made full use of such techniques and filmmaking with his pupils, who include Andrew Serkis of Lord of the Rings, and with the drama department producing theatrical masks and stage sets. His paintings can be seen in various churches of Northampton diocese, as well as wall hangings designed by him and sewn by parishioners. He is a life-long member of the Society of Catholic Artists in London and was president from 1973-1980.

Peter Koenig is a life-long member of the Society of Catholic Artists in London and was its president from 1973-1980. The 90-years-anniversary exhibition for the Society of Catholic Artists can be viewed here.

Revd Jonathan Evens is Associate Vicar for HeartEdge at St Martin-in-the-Fields. Through HeartEdge, a network of churches, he encourages congregations to engage with culture, compassion and commerce. He is co-author of ‘The Secret Chord,’ an impassioned study of the role of music in cultural life written through the prism of Christian belief. He writes regularly on the Arts for a range of publications and blogs at


06 October 2021 / Disciplining our eyes with holy images

by Victoria Emily Jones

Images tend to work a subtle magic on us, especially after years of constant exposure.


24 August 2021 / On the Gifts of Street Art

by Jason Goroncy

These works represent an act of reclaiming public space for citizens rather than merely consumers.


27 July 2021 / Russia’s 1st Biennale of Christ-centered Art

An opportunity of dialogue between the church and contemporary art

by Viktor Barashkov


30 June 2021 / Jacques and Raïssa Maritain among the Artists

by David Lyle Jeffrey

About the influence of Jacques and Raïssa Maritain on Rouault, Chagall and Arcabas.


13 May 2021 / GOD IS...

Chaiya Art Awards 2021 Exhibition: “God Is . . .”

by Victoria Emily Jones


21 April 2021 / Photographing Religious Practice

by Jonathan Evens

The increasing prevalence of photographic series and books exploring aspects of religious practice gives witness to the return of religion in the arts.


23 March 2021 / Constanza López Schlichting: Via Crucis

Perhaps what may be different from other Stations of the Cross is that it responds to a totally free expression and each station is a painting in itself. 


10 February 2021 / Gert Swart: Four Cruciforms

In a post-Christian era, contemporary Christian artists have to find new ways of evoking the power of the cross. 


08 January 2021 / Reflecting on a Gauguin Masterpiece

by Alan Wilson

An artist's reflection on Impressionism, Cezanne, Van Gogh and especially Gauguin's Vision after the Sermon.


11 December 2020 / ArtWay Newsletter 2020

What makes the ArtWay platform so special is its worldwide scope thanks to its multilingual character. There are ArtWay visitors in all countries on this planet. 


27 October 2020 / Art Pilgrimage

A Research Project on Art Stations of the Cross

by Lieke Wijnia



How Other Cultures See the Bible

Christian Weber, Wie andere Kulturen die Bibel sehen. Ein Praxisbuch mit 70 Kunstwerken aus 33 Ländern.


17 July 2020 / The Calling Window by Sophie Hacker

by Jonathan Evens  

In 2018 British artist Sophie Hacker was approached to design a window for Romsey Abbey to celebrate the bicentenary of the birth of Florence Nightingale.


12 June 2020 / A little leaven leavens the whole lump

From South Africa

Ydi Carstens reports on the group show ‘Unleavened’ which was opened in Stellenbosch shortly before the Covid-19 lock-down. 


14 May 2020 / Jazz, Blues, and Spirituals


Hans Rookmaaker, Jazz, Blues, and Spirituals. The Origins and Spirituality of Black Music in the United States. 

Reviewed by Jonathan Evens


17 April 2020 / Andy Warhol: Catholicism, Work, Faith And Legacy

by Jonathan Evens 

While Warhol’s engagement with faith was complex it touched something which was fundamental, not superficial.


25 March 2020 / Sacred Geometry in Christian Art

by Sophie Hacker

This blog unravels aspects of sacred geometry and how it has inspired art and architecture for millennia. 


22 February 2020 / Between East and West

By Kaori Homma

Being in this limbo between day and night makes me question, “Where does the east end and the west start?”


15 February 2020 / Imagination at Play

by Marianne Lettieri

To deny ourselves time to laugh, be with family and friends, and fuel our passions, we get caught in what Cameron calls the “treadmill of virtuous production.”


07 December 2019 / ArtWay Newsletter 2019

An update by our editor-in-chief 
the ArtWay List of Books 2019


16 November 2019 / Scottish Miracles and Parables Exhibition

Alan Wilson: "Can there be a renewal of Christian tradition in Scottish art, where ambitious artists create from a heartfelt faith, committed to their Lord and saviour as well as their craft?"


23 September 2019 / Dal Schindell Tribute

While Dal’s ads and sense of humour became the stuff of legends, it was his influence on the arts at Regent College in Vancouver, Canada that may be his biggest legacy. 


04 September 2019 / The Aesthetics of John Calvin

Calvin stated that 'the faithful see sparks of God's glory, as it were, glittering in every created thing. The world was no doubt made, that it might be the theater of divine glory.'


31 July 2019 / The Legend of the Artist

by Beat Rink

The image of the 'divine' artist becomes so dominant that artists take their orientation from it and lead their lives accordingly.


02 July 2019 / Quotes by Tim Keller

Many “Christian art” productions are in reality just ways of pulling artists out of the world and into the Christian subculture.


08 June 2019 / The Chaiya Art Awards

by Jonathan Evens

The Chaiya Art Awards 2018 proved hugely popular, with over 450 entries and more than 2,700 exhibition visitors.


29 May 2019 / Art Stations of the Cross: Reflections

by Lieke Wynia

In its engagement with both Biblical and contemporary forms of suffering, the exhibition addressed complex topical issues without losing a sense of hope out of sight.


03 May 2019 / Marianne Lettieri: Relics Reborn

Items that show the patina of time and reveal the wear and tear of human interaction are carriers of personal and collective history. 


27 April 2019 / Franciscan and Dominican Arts of Devotion

by John Skillen 

This manner of prayer stirs up devotion, the soul stirring the body, and the body stirring the soul.


13 March 2019 / Makoto Fujimura and the Culture Care Movement

by Victoria Emily Jones

Culture care is a generative approach to culture that brings bouquets of flowers into a culture bereft of beauty.


08 January 2019 / Building a Portfolio of People

by Marianne Lettieri

Besides hard work in the studio, networking may be the single most important skill for a sustainable art practice.


01 December 2018 / ArtWay Newsletter December 2018

ArtWay has Special Plans for 2019!

After London, Washington D.C. and New York the city of Amsterdam in the Netherlands is now the anticipated location for a prominent art exhibition with the title Art Stations of the Cross.


11 October 2018 / The Life, Art and Legacy of Charles Eamer Kempe

Book Review by Jonathan Evens

The significance and spirituality of the work is made clear in ways which counteract the stereotype of mass production of a static style.


13 September 2018 / A Visit to the Studio of Georges Rouault

by Jim Alimena

Everything we saw and learned reinforced my picture of a great man of faith and a great artist. 


09 August 2018 / With Opened Eyes: Representational Art

by Ydi Coetsee

How do we respond to the ‘lost innocence’ of representational art? 


13 July 2018 / True Spirituality in the Arts

by Edith Reitsema

Living in Christ should lead us away from living with a segregated view of life, having a sacred-secular split. 


17 May 2018 / Beholding Christ in African American Art

Book review by Victoria Emily Jones

One of the hallmarks of Beholding Christ is the diversity of styles, media, and denominational affiliations represented.


23 April 2018 / Short Introduction to Hans Rookmaaker

by Marleen Hengelaar-Rookmaaker

On the occasion of the establishment of the Rookmaaker Jazz Scholarship at Covenant College, Chattanooga, Tennessee, 12 March 2018


04 April 2018 / International Art Residency in India

Art for Change, a New Delhi based arts organization with a vision to see art shape society with beauty and truth, will be running its 6th annual International Artist Residency in November 2018.


15 March 2018 / The Stations of the Cross at Blackburn Cathedral

by Penny Warden  

Perhaps the central challenge for the artist in imaging the body of Christ is the problem of representing the dual natures of the doctrine of the incarnation.


23 February 2018 / Between the Shadow and the Light

By Rachel Hostetter Smith

In June 2013 a group of twenty North American and African artists from six African countries met for two weeks of intensive engagement with South Africa.


30 January 2018 / Sacred Geometry in Christian Art

by Sophie Hacker

This blog unravels aspects of sacred geometry and how it has inspired art and architecture for millennia. 


01 January 2018 / Jonathan Evens writes about Central Saint Martins

Why would Central Saint Martins, a world-famous arts and design college and part of University of the Arts London, choose to show work by its graduates in a church?


06 December 2017 / ArtWay Newsletter December, 2017

ArtWay's Chairman Wim Eikelboom: "The visual arts cultivate a fresh and renewed view of deeply entrenched values. That is why ArtWay is happy to provide an online platform for art old and new."


14 November 2017 / The Moral Imagination: Art and Peacebuilding

In the context of conflict transformation the key purpose of creative expression is to provide a venue for people to tell their stories, and for their stories to be heard.


24 October 2017 / Bruce Herman: Ut pictura poesis?

For the last couple hundred of years the arts have largely been in "experimentation mode"—moving away from the humble business of craft and service toward ideas, issues, and theory.


04 October 2017 / David Jeffrey: Art and Understanding Scripture

The purpose of In the Beauty of Holiness: Art and the Bible in Western Culture is to help deepen the reader’s understanding of the magnificence of the Bible as a source for European art.


08 September 2017 / David Taylor: The Aesthetics of John Calvin

Calvin stated that 'the faithful see sparks of God's glory, as it were, glittering in every created thing. The world was no doubt made, that it might be the theater of divine glory.'


23 August 2017 / ​Reconstructed by Anikó Ouweneel

A much talked-about exposition in the NoordBrabants Museum in The Netherlands showed works by modern and contemporary Dutch artists inspired by traditional Catholic statues of Christ and the saints. 


04 July 2017 / Pilgrimage to Venice – The Venice Biennale 2017

When I start to look at the art works, I notice a strange rift between this pleasant environment and the angst and political engagement present in the works of the artists. 


24 June 2017 / Collecting as a Calling

After many years of compiling a collection of religious art, I have come to realize that collecting is a calling. I feel strongly that our collection has real value and that it is a valuable ministry. 


02 June 2017 / I Believe in Contemporary Art

By Alastair Gordon

In recent years there has been a growing interest in questions of religion in contemporary art. Is it just a passing fad or signs of renewed faith in art? 


04 April 2017 / Stations of the Cross - Washington, DC 2017

by Aaron Rosen

We realized that the Stations needed to speak to the acute anxiety facing so many minorities in today’s America and beyond. 


07 March 2017 / Socially Engaged Art

A discussion starter by Adrienne Dengerink Chaplin

Growing dissatisfaction with an out-of-touch, elite and market driven art world has led artists to turn to socially engaged art. 


01 February 2017 / Theodore Prescott: Inside Sagrada Familia

The columns resemble the trunks of trees. Gaudi conceived of the whole interior as a forest, where the nave ceiling would invoke the image of an arboreal canopy.


03 January 2017 / Steve Scott tells about his trips to Bali

In the Balinese shadow play the puppet master pulls from a repertoire of traditional tales and retells them with an emphasis on contemporary moral and spiritual lessons. 


09 December 2016 / Newsletter ArtWay December 2016

Like an imitation of a good thing past, these days of darkness surely will not last. Jesus was here and he is coming again, to lead us to the festival of friends.


01 November 2016 / LAbri for Beginners

What is the role of the Christian artist? Is it not to ‘re-transcendentalise’ the transcendent, to discern what is good in culture, and to subvert what is not with a prophetic voice?


30 September 2016 / Book Review by Jonathan Evens

Jonathan Koestlé-Cate, Art and the Church: A Fractious Embrace - Ecclesiastical Encounters with Contemporary Art, Routledge, 2016.


01 September 2016 / Review: Modern art and the life of a culture

The authors say they want to help the Christian community recognize the issues raised in modern art and to do so in ways that are charitable and irenic. But I did not find them so. Their representation of Rookmaaker seems uncharitable and at times even misleading. 


29 July 2016 / Victoria Emily Jones on Disciplining our Eyes

There’s nothing inherently wrong with images—creating or consuming. In fact, we need them. But we also need to beware of the propensity they have to plant themselves firmly in our minds. 


30 June 2016 / Aniko Ouweneel on What is Christian Art?

Pekka Hannula challenges the spectator to search for the source of the breath we breathe, the source of what makes life worth living, the source of our longing for the victory of redemptive harmony.


09 June 2016 / Theodore Prescott: The Sagrada Familia

Sagrada Familia is a visual encyclopedia of Christian narrative and Catholic doctrine as Gaudi sought to embody the faith through images, symbols, and expressive forms.


19 May 2016 / Edward Knippers: Do Clothes make the Man?

Since the body is the one common denominator for all of humankind, why do we fear to uncover it? Why is public nudity a shock or even a personal affront?


27 April 2016 / Alexandra Harper: Culture Care

Culture Care is an invitation to create space within the local church to invest our talents, time and tithes in works that lean into the Kingdom of God as creative agents of shalom. 


06 April 2016 / Jonathan Evens on Contemporary Commissions

The issue of commissioning secular artists versus artists of faith represents false division and unnecessary debate. The reality is that both have resulted in successes and failures.


12 March 2016 / Betty Spackman: Creativity and Depression

When our whole being is wired to fly outside the box, life can become a very big challenge. To carve oneself into a square peg for the square holes of society, when you are a round peg, is painful to say the least.


24 February 2016 / Jim Watkins: Augustine and the Senses

Augustine is not saying that sensual pleasure is bad, but that it is a mixed good. As his Confessions so clearly show, Augustine is painfully aware of how easily he can take something good and turn it into something bad. 


11 February 2016 / H.R. Rookmaaker: Does Art Need Justification?

Art is not a religion, nor an activity relegated to a chosen few, nor a mere worldly, superfluous affair. None of these views of art does justice to the creativity with which God has endowed man.


26 January 2016 / Ned Bustard: The Bible is Not Safe

Revealed is intended to provoke surprise, even shock. It shows that the Bible is a book about ordinary people, who are not only spiritual beings, but also greedy, needy, hateful, hopeful, selfish, and sexual.


14 January 2016 / Painting by Nanias Maira from Papua New Guinea

In 2011 Wycliffe missionary Peter Brook commissioned artist Nanias Maira, who belongs to the Kwoma people group of northwestern Papua New Guinea, to paint Bible stories in the traditional style for which he is locally known.