Michelangelo’s intense faith was the primary cause of the greatness of his work. His faith did more than affect the nature of his work—it affected his very thinking on the origin and function of art. Several of his statues portray the struggle of the individual to free himself from matter. He believed that, second only to man, marble was God’s greatest creation and that within each block of marble, there was a figure that God had placed; the job of the sculptor was to release that figure, much like at death our bodies will release our souls.
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Michelangelo’s intense faith was the primary cause of the greatness of his work. His faith did more than affect the nature of his work—it affected his very thinking on the origin and function of art. Several of his statues portray the struggle of the individual to free himself from matter. He believed that, second only to man, marble was God’s greatest creation and that within each block of marble, there was a figure that God had placed; the job of the sculptor was to release that figure, much like at death our bodies will release our souls.

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Michelangelo’s intense faith was the primary cause of the greatness of his work. His faith did more than affect the nature of his work—it affected his very thinking on the origin and function of art. Several of his statues portray the struggle of the individual to free himself from matter. He believed that, second only to man, marble was God’s greatest creation and that within each block of marble, there was a figure that God had placed; the job of the sculptor was to release that figure, much like at death our bodies will release our souls.
head-and-shoulders portrait of an original character: a young man with curly dark hair and headphones around his neck, plain backdrop, no text
The weight of silence
“Faith is the assurance of things hoped for, the conviction of things not seen.” – Hebrews 11:1
“Faith is the assurance of things hoped for, the conviction of things not seen.” – Hebrews 11:1
This calls for patient endurance on the part of the people of God who keep his commands and remain faithful to Jesus.
head-and-shoulders portrait of an original character: a young man with curly dark hair and headphones around his neck, plain backdrop, no text
Father and Grandmother with Siu Zi leaving their home in a Guangzhou street in the dark of night. There is an air of secrecy. Siu Zi clutches her small bag, its contents little more than a few treasured keepsakes and faded photographs. Her father’s reassuring hand on her shoulder, and the soft presence of her grandmother at his side, give her the courage to move forward. A taxi waits down the street to take them to the train.
head-and-shoulders portrait of an original character: a young man with curly dark hair and headphones around his neck, plain backdrop, no text
head-and-shoulders portrait of an original character: a young man with curly dark hair and headphones around his neck, plain backdrop, no text
First century Jerusalem at the "gate beautiful" to the temple grounds. Peter and John were going up to the temple at the hour of prayer, the ninth hour. And a man lame from birth was being carried, whom they laid daily at the gate of the temple that is called the Beautiful Gate to ask alms of those entering the temple. Seeing Peter and John about to go into the temple, he asked to receive alms. And Peter directed his gaze at him, as did John, and said, “Look at us.” And he fixed his attention on them, expecting to receive something from them. But Peter said, “I have no silver and gold, but what I do have I give to you. In the name of Jesus Christ of Nazareth, rise up and walk!” And he took him by the right hand and raised him up, and immediately his feet and ankles were made strong.
head-and-shoulders portrait of an original character: a young man with curly dark hair and headphones around his neck, plain backdrop, no text
“And one of the scribes came up and heard them disputing with one another, and seeing that he answered them well, asked him, “Which commandment is the most important of all?” Jesus answered, “The most important is, ‘Hear, O Israel: The Lord our God, the Lord is one. And you shall love the Lord your God with all your heart and with all your soul and with all your mind and with all your strength.’ The second is this: ‘You shall love your neighbor as yourself.’ There is no other commandment greater than these.” And the scribe said to him, “You are right, Teacher. You have truly said that he is one, and there is no other besides him. And to love him with all the heart and with all the understanding and with all the strength, and to love one’s neighbor as oneself, is much more than all whole burnt offerings and sacrifices.” And when Jesus saw that he answered wisely, he said to him, “You are not far from the kingdom of God.” Jesus stands among His disciples in a shady patio area outdoors talking to this scribe. His disciples wonder at the exchange. Several of them are also engaged in conversations set around the one Jesus is having. We see Jesus from the left rear quarter, where we can see only the back of His head and the side of his face. His hands are expressing His point. The scribe to whom He speaks has a poignant, thoughtful expression.
Inside an informal church in Kuala Lumpur. Wing Sun and his father and mother, along with Siu Zi, his friend from school are there together. We are standing in the back of the room, and there are many more people than there were in the London church. There are people of different ethnicities, but mostly Chinese Malaysian. The Pastor, a Chinese man, is standing up front speaking to the congregation, facing them. The atmosphere is hot and sweaty, with ceiling fans running, but still welcoming, Wing Sun is happy that his family is together and also that his friend Siu Zi, who he has just learned is a Christian, can be there too.
a tree in nature
a drawing of a man with a tree on his back
a drawing of a man with a bird on his shoulder
a man with his hands on his face
head-and-shoulders portrait of an original character: a young man with curly dark hair and headphones around his neck, plain backdrop, no text
a demon with a sword in his hand
a painting of a man with his arms outstretched
a man with a glass of wine in his hand
a drawing of a man with a bird on his shoulder
a tree in nature
a painting of a man with an angel on his back
A highly realistic and historically accurate image set in the deep, waterlogged mud of the Texas Cross Timbers (Montague County) in 1840. The scene captures the frustrating moment when the Chihuahua Traders caravan is completely stuck. Foreground focus is on several heavy, wooden Conestoga freight wagons, mired up to their axles in dark, thick mud. Exhausted oxen are straining and distressed, their drivers in rough frontier attire attempting to free the wheels with ropes and levers. In the mid-ground, a small group of the American equestrian circus performers stands next to their distinctive, high-quality riding horses, which are visibly more refined than the typical pack animals. The performers are dressed in sturdy but distinct traveling clothes, looking ill-equipped and frustrated by the muddy conditions. One performer is carefully securing a colorful carriage or cart containing unique circus props, struggling to keep it from sinking. The overall mood is one of miserable delay and hardship. Cloudy, oppressive sky; detailed realism; wide-angle shot; dark, moody lighting.
A highly realistic and historically accurate image set in the deep, waterlogged mud of the Texas Cross Timbers (Montague County) in 1840. The scene captures the frustrating moment when the Chihuahua Traders caravan is completely stuck. Foreground focus is on several heavy, wooden Conestoga freight wagons, mired up to their axles in dark, thick mud. Exhausted oxen are straining and distressed, their drivers in rough frontier attire attempting to free the wheels with ropes and levers. In the mid-ground, a small group of the American equestrian circus performers stands next to their distinctive, high-quality riding horses, which are visibly more refined than the typical pack animals. The performers are dressed in sturdy but distinct traveling clothes, looking ill-equipped and frustrated by the muddy conditions. One performer is carefully securing a colorful carriage or cart containing unique circus props, struggling to keep it from sinking. The overall mood is one of miserable delay and hardship. Cloudy, oppressive sky; detailed realism; wide-angle shot; dark, moody lighting.
a drawing of a man with a sword in his hand
a drawing of a man with a sword in his hand
Urban anxiety
head-and-shoulders portrait of an original character: a young man with curly dark hair and headphones around his neck, plain backdrop, no text
a tree in nature
a statue of a man with his arms in the air
a tree in nature
A highly realistic and historically accurate image set in the deep, waterlogged mud of the Texas Cross Timbers (Montague County) in 1840. The scene captures the frustrating moment when the Chihuahua Traders caravan is completely stuck. Foreground focus is on several heavy, wooden Conestoga freight wagons, mired up to their axles in dark, thick mud. Exhausted oxen are straining and distressed, their drivers in rough frontier attire attempting to free the wheels with ropes and levers. In the mid-ground, a small group of the American equestrian circus performers stands next to their distinctive, high-quality riding horses, which are visibly more refined than the typical pack animals. The performers are dressed in sturdy but distinct traveling clothes, looking ill-equipped and frustrated by the muddy conditions. One performer is carefully securing a colorful carriage or cart containing unique circus props, struggling to keep it from sinking. The overall mood is one of miserable delay and hardship. Cloudy, oppressive sky; detailed realism; wide-angle shot; dark, moody lighting.
A highly realistic and historically accurate image set in the deep, waterlogged mud of the Texas Cross Timbers (Montague County) in 1840. The scene captures the frustrating moment when the Chihuahua Traders caravan is completely stuck. Foreground focus is on several heavy, wooden Conestoga freight wagons, mired up to their axles in dark, thick mud. Exhausted oxen are straining and distressed, their drivers in rough frontier attire attempting to free the wheels with ropes and levers. In the mid-ground, a small group of the American equestrian circus performers stands next to their distinctive, high-quality riding horses, which are visibly more refined than the typical pack animals. The performers are dressed in sturdy but distinct traveling clothes, looking ill-equipped and frustrated by the muddy conditions. One performer is carefully securing a colorful carriage or cart containing unique circus props, struggling to keep it from sinking. The overall mood is one of miserable delay and hardship. Cloudy, oppressive sky; detailed realism; wide-angle shot; dark, moody lighting.
a painting of a man with a knife in his hand
a statue of a man with his arms outstretched
a statue of a man with his arms outstretched
a statue of a man with his arms outstretched
head-and-shoulders portrait of an original character: a young man with curly dark hair and headphones around his neck, plain backdrop, no text
a painting of a man with his hand on his chest