An Interview with a Student

A London illustrator student asked me to help her in her class assignment to interview an artist.

Four Holy Gospels exhibit, at Museum of the Bible inaugural exhibit, 2017

1. Do you believe that this process-oriented approach of worship is applicable to all artistic disciplines, such as illustration for example, where the end result is traditionally the primary focus?

Yes, I believe the process-oriented approach as worship can be applied to all artistic disciplines, including illustration. While it is true that illustration often prioritizes the end result, the spirit of slow art—intentionally engaging with the materials and being present in the creative process—can transform even the most commercially driven forms of art-making into acts of worship. Look at the works of my friend John Hendrix. His life and illustrations are permeated with care and excellence.

By “care” I do not mean, by the way, that every illustration must be detailed and painstakingly labored; rather, it’s about infusing the process with care, attentiveness, and a sense of devotional offering. In Nihonga, the preparation of pigments and paper mirrors spiritual preparation—cultivating patience, humility, and surrender to often unyielding, but beautiful, materials.

Illustrators, for example, can bring the same intentionality to their craft by considering the story, audience, and values embedded in their work. This mindset shifts the focus from mere production to creation as an act of service and devotion. Pray for your audience. Love your critics. Be grateful for every critique.

Art, regardless of discipline, can become a vessel through which the artist communes with God, celebrates beauty, and reflects divine creativity.

2. How are artists meant to approach art-making when asked to take a stance on divisive issues present in the world today? Is creating artwork with an empathic or care-based approach a sufficient response to this brokenness?