Through these paintings [SAMPLE ARTWORK BELOW], I wrestled with the complex reality of pain and suffering. Aesthetically, I was particularly inspired by the Japanese practice of Kintsugi and the philosophy of Wabi-sabi. Kintsugi is a practice whereby a broken piece of pottery is repaired using powdered precious metal and adhesive. The cracks on the piece are entirely visible in their newly gilded form, and the piece actually becomes more valuable than before it was broken. Wabi-sabi is an aesthetic philosophy which values the natural, the temporal, and the ephemeral over the permanent and perfect.
I sought to create personal artifacts of brokenness, and the only thing that could make me brave enough to do so was to filter it through my understanding of why pain exists. I have come to realize that, personally, suffering only becomes unbearable to face if I feel that there can be no deeper meaning beyond it.
Talking about suffering is difficult because it is at once intimate and universal. No matter what you say about it, it lacks some facet or depth of human experience, because it is an individual soul that suffers. As Nicholas Wolterstorff says in his profoundly moving Lament for a Son, “The dynamics of each person’s sorrow must be allowed to work themselves out without judgement. I may find it strange that you should be tearful today but dry-eyed yesterday when my tears were yesterday. But my sorrow is not your sorrow.” I have felt that profound loneliness in my own suffering. In those moments, it feels like no one else could possibly understand what I am going through, and there is some truth to that. No human being can possibly understand another soul’s suffering completely.
I come to the Passion of Jesus Christ here because in Christ my loneliness in my suffering is diminished. Christ’s suffering through the passion corresponds in some aspect to practically any kind of human suffering imaginable. The cross acts as a prism in this way, through which all suffering is split into its many facets. I find that there is no facet he cannot enter, not just because he knows me completely but also because of the life he lived and the death he died. Christ endured a kind of suffering that is the worst I can imagine: he was fully alone, he had no consolation, and God was silent. There was no one to defend him; he could not save himself without compromising those he loved most. He endured agonizing physical pain. And worse than that, many theologians describe the spiritual agony into which Christ descended as one that felt infinite and unending.
More important to me than the eradication of loneliness is the eradication of all suffering itself, which is the whole point of the horrific death of Jesus. Because of Christ’s work on the cross, my journey through the valley of death has an end. The painful process has context and meaning that it didn’t have before. I have often found myself wanting to escape from or ignore my pain in an attempt to speed up my healing process so I can go back to the way I was before, with no scar to remind me of the pain, in an imagined state of perfection. This project has helped me to begin to understand suffering as a process, and to see scarring as a mark of the healing. It is important to note that Christ, the God-man, whose death reworked the very fabric of the cosmos, forever changing the material of the universe, chose to keep his scars after his resurrection.
ABOUT THE PROCESS
Each painting is 64” tall, which is within the range of probable heights for an average male in Palestine in the first century; in other words, it is representative of the height of Jesus of Nazareth. Each panel is the same size; and it is my hope that in this work you will sense a sort of unified bodily presence.
The exhibit is broken into three parts. Part one serves as a narrative introduction to the reality of suffering, the second part explores the particular suffering of Christ as seen in his Passion, and the third part imagines result of that Passion.
In the second part, each work was created with an underpainting. This underpainting often felt finished to me in a sense in that it had a unique beauty that satisfied me. Then I inflicted upon the work an act that was like or representative of what Jesus might have experienced. For example, the painting dealing with the scourging of Christ was itself scourged with a cat-o’-nine tails whip. In another example, the painting meant to express a shadow of the moment of agony when Christ screamed his question, “My God, my God, why have you forsaken me?” was actually removed from the stretcher bars and torn apart.
In the spirit of kintsugi, I have worked some measure of repair on each of the paintings, though not with the intent that they look the same way they did beforehand. Also in harmony with the philosophy of Wabi-sabi and the messiness of the process of suffering, you will find many imperfections in these paintings. Though they have been glued, sewn, woven, and gilded, I didn’t make an attempt to hide the wounds, but instead chose to see them as a part of the painting’s history, a reminder of the breaking. I let them keep their scars, and this repetitive act helped to instill in me the idea that it is okay for me to keep my own scars as a reminder of my brokenness and the hands that are healing me.
ABOUT THE AUTHOR / ARTIST
Kelly Kruse uses her work to explore the painful, beautiful experience of human longing and suffering. She developed a visual devotional practice as a response to her battle with depression, through which she wrestles with beauty, longing, and faith. Kruse describes her work as contemporary illumination. Like the medieval monks who perfected the art of illuminated manuscripts, she seeks to awake in the viewer a sense of spiritual contemplation. Her first exposure to the idea of illumination came when she studied Medieval and Renaissance music in Italy. Her background in classical music and opera puts her in a unique position to explore the intersection between scripture, poetry, musical works, and the visual arts. Kelly received her undergraduate degree in voice performance from Iowa State University and her masters in voice performance from Indiana University, where she was a student of Costanza Cuccaro. In addition to her visual art practice, she is a member of the music faculty at Metropolitan Community College-Blue River. She also maintains an active private studio and is a member of the National Association of Teachers of Singing. Kelly is a Daler-Rowney sponsored artist.