Finster creates a sense of flow towards the heavenly kingdom which dominates much of the painting.

The great white paths draw the eye upward. Each one is inscribed with characteristics of the promised land—KINDNESS, LOVE, PEACE, ETURNAL LIFE, HOME.

Finster was a #Baptist preacher and an untrained artist. After decades in the church, he felt a call to paint sacred art as a way to teach people the #gospel.

Read about THE LORD WILL DELIVER HIS PEOPLE ACROSS JORDAN in our exhibition on #Joshua 3–4:

thevcs.org/crossing-jor...

An impression of water, silence, and liminality is conveyed by @iamfujimura.bsky.social's work 'Silence and Beauty—Mysterion'.

The massive canvas is structured like a triptych and conveys a wall of emerald waters.

Read Mark Scarlata's commentary here:

thevcs.org/crossing-jor...

The Calanais Standing Stones remind Mark Scarlata of the twelve stones arranged by #Joshua as a memorial to the Lord at #Gilgal.

Find out more by clicking the link:

thevcs.org/crossing-jor...

The 'Naskh' calligraphy, traditionally used in the Qur’an, was designed to be easy to write and attractive to read.

The written verses span the end of Matthew 12:13 to the opening clause of verse 17.

Find out more in this week's exhibition on #Matthew 12:9–14, #Mark 3:1–6, and #Luke 6:6–11, 'The Man with the Withered Hand'.

thevcs.org/man-with-wit...

Here, he imagines his hand whole and healed.

In this week’s exhibition we explore this etching alongside an Arabic manuscript and an etching by Jan Van Orley in the context of Jesus’ healing of a man’s withered hand.

thevcs.org/man-with-wit...

Jesus’s command to the man to stretch out his hand is laden with theological significance, but also a reminder that restoration to wholeness is a distinguishing feature of the #Sabbath.

Soulages emphasised a formative influence on his painting practice: the prehistoric cave paintings at Lascaux he saw as a boy.

You can read about these in our exhibition on #Job 39:

thevcs.org/brutal-lesso...