Human Tapestry

While the arts are often marginalized in Protestant Christianity—viewed with suspicion due to fears of secular influences, doctrinal ambiguities, and the potential for idolatry—they remain one of the most powerful ways to engage culture. Art has the unique ability to reflect the human heart, surface difficult life questions buried beneath the busyness of everyday life, and build bridges between communities. This is especially significant in China, where increasing restrictions make it harder to attract people to churches. In such a landscape, creative arts with a kingdom perspective offer an effective, subtle, yet powerful way to introduce gospel values and foster meaningful connections.

One recent art exhibition, Human Tapestry, held in Dongguan, China, exemplifies this perspective. Through its portrayal of both ethnic minorities in China and contemporary social archetypes, the exhibition invites viewers to engage with the existential realities of Chinese society. Colombian-British artist Erik Churchill, who has lived in China for 11 years, created this exhibition after extensive travel to regions such as Yunnan, Sichuan, and Gansu. His exposure to diverse minority groups inspired him to teach himself to paint during the COVID-19 pandemic. His first portrait in this period, a depiction of a Tujia individual based on a photograph from Yunnan, evolved into what is now called the Honor Series—a collection dedicated to restoring the royal identity of ethnic minorities through God’s eyes.

Rediscovering Dignity: The Honor Series

Featuring 12 ethnic groups, including the Han, Miao, Yao, Hui, and Dai, the Honor Series presents striking portraits enriched with gold foil backgrounds. Some details are visible in natural light, while others only emerge under UV light, allowing visitors to engage with the artwork dynamically. This experience prompts reflection on the true identity of minority groups, often marginalized or misrepresented in China’s mainstream narrative.

For example, the portrait of a young Zhuang girl showcases her in traditional attire. Beneath the white background, an invisible crown glows under UV light, symbolizing a royal identity that transcends societal narratives—an identity granted and affirmed by God alone. Additionally, parts of the figures in these paintings are pixelated, a deliberate artistic choice. Churchill explains, “The cultures of these tribes are made up of countless intricate and interwoven pixels, yet they face the threat of vanishing.” As visitors move through the exhibition, they are struck by both the beauty and dignity of these cultures and the tragedy of their gradual erasure.

Hidden Details Under UV light

A 13th Tribe: Modern Society’s Reflections

Alongside the Honor Series, the People Groups Series presents a stark contrast. Using the bold, fragmented aesthetic of cubism—one of the most influential art movements of the 20th century pioneered by Pablo Picasso and Georges Braque—Churchill explores themes of distortion and alienation in modern society. This collection highlights various social “tribes” that are consumed by fleeting desires, only to become enslaved by the very things they pursue.

From the Influencer Tribe, constantly curating their online personas for social media validation, to the Bent Necks, perpetually absorbed in their screens and detached from reality, the paintings challenge viewers to examine their own lives. Other depictions include the Lovelorn, drifting from one relationship to another in pursuit of an unattainable ideal of love, and the Ladder Climbers, fixated on social mobility and status. Through these distorted and abstracted figures, the artist invites visitors to question where true fulfillment of life is found.

Engaging the Younger Generation Through Art

Another unique aspect of this exhibition was the involvement of young people behind the scenes. Held in an international high school in Dongguan, the event engaged student volunteers in every aspect of its organization—from setting up the venue to designing merchandise and guiding visitors. These students were not passive observers but active contributors, offering innovative ideas in marketing and curation. By interacting closely with the artist and the artwork, they became the exhibition’s first audience and advocates, gaining firsthand experience of how art can serve as a vessel for kingdom values. This life-on-life education exemplified the power of art to foster Christ-centered communities and inspire the next generation.

A Call to Engage Culture Creatively

If we truly believe that the gospel transforms every aspect of life, then we must also embrace every avenue available to communicate its message. Human Tapestry demonstrates how art can carry kingdom culture in a way that touches hearts beyond direct evangelism. As the environment in China becomes increasingly restrictive, believers are compelled to explore creative expressions that resonate with society’s deeper spiritual hunger.

Just as a famous line from Du Fu’s poem Spring Night Rain (《春夜喜雨》) says, “The rain moistens everything gently and silently” (润物细无声), God continues his work in subtle and unseen ways in China. May this inspire us to participate in his mission with imagination, courage, and faithfulness, using whatever gifts and platforms he provides.

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