Resurrection is the central motif of Live Forever, represented as a raising, rising, or some other form of elevating from a lower level to a higher plane. This applies in both an immediate spiritual sense, as in heightened consciousness and expanded Christ-awareness; and it applies in a prophetic sense, as in the bodily immortality promised every regenerated believer at His coming.
Scripture often refers to resurrection as a “raising up”: “Knowing that He which raised up the Lord Jesus shall raise up us also by Jesus” (2 Cor 4:14); “God both raised up the Lord and will also raise us up by His power” (1 Cor 6:14).
This is a recurring theme in the artwork. At center top, a man lifts a woman by the arm, raising her up. He leverages himself up into the air, standing upon an empty resurrection tomb in the sky. The stone rolls away from the entrance, revealing a flood of white light. Another man emerges from inside. His chakras—the mystic spiritual energy centers in the body—are opened, representing an awakening to spiritual consciousness. This pictures the resurrection applying to both life after physical death and a new life born inside the heart of the believer: “And you He made alive who were dead in trespasses and sins” (Eph 2:1).
This theme of “raising up” also appears in the Romeo and Juliet scene depicted at right, underneath the rearview mirror. In this instance it is the woman, Juliet, who is pulling the man, Romeo, up into the window. The adjacent caption reads, “expect to eventually rise.” In context with the previous scene, wherein the man raised the woman, this image shows that the masculine and feminine energies within the individual are mutually exclusive in “the raising.” It is not the predominance of one or the other, but the consummation of both which is necessary.
This concept reflects the perfect balance of active and passive principles, the divine paradox of yin and yang in harmony, wherein confidence meets humility and courage meets submissiveness. This is the perfection of faith that facilitates progress for the believer in God’s plan. The Romeo and Juliet scene is also befitting because it is a story about Love and tragedy, both themes with which believers are well acquainted.
The scene at the outdoor café at right also depicts the “raising up.” Previous scenes of “raising up” occurring between man and woman illustrated the balance of active and passive principles within the spiritually regenerated (resurrected) individual. Here, this concept is applied between the Messiah and believer. The active power of Christ lifts the passive, trusting believer from his chair. Just as a transmitter is useless without a receiver, the active power of God needs an open mind and heart, a submissive recipient through which to operate.
At center top, a woman spirals from the resurrection tomb into heaven. A microphone graces her hands as she sings for joy. The adjacent scriptures read, “Awake and sing, ye that dwell in the dust… sing of the mercies of the Lord forever” (Isa 26:19; Ps 89:1). This pictures the fulfillment of Love’s promise. When believers awaken from the dust, we shall be overwhelmed with joy, singing songs of praise and gratitude to the Lord forever more. Such Love staggers the imagination.
Resurrection is the zenith of all hope and the beginning of true faith. It would not be necessary without the curse under which man fell. Resurrection liberates believers from enslavement to sin and sin’s consequent death. Resurrection re-creates that spiritual identity lost in Adam: “For if the dead do not rise, then Christ is not risen. And if Christ is not risen, your faith is futile; you are still in your sins” (1 Cor 15:16-17); “For since by man (Adam) came death, by Man (Christ) also came the resurrection of the dead. For as in Adam all die, even so in Christ all shall be made alive” (1 Cor 15:21-22).
The centerpiece depicts the scene of man’s first sin. A male and female nude represent Adam and Eve in the garden prior to the fall. They are portrayed naked, still in a state of innocence. Two apples hang above them, extending from a vine that originates behind the resurrection tomb in the sky. This represents the inextricable connection between death and resurrection. All will rise, some to eternal life and others to everlasting shame and contempt: “…all that are in the graves shall hear His voice, and shall come forth; those who have done good to the resurrection of life, and those who have done evil to the resurrection of condemnation” (John 5:28-29).
The apples represent the forbidden fruit, the knowledge of good and evil which God told Adam and Even to avoid. A snake slithers around the apples, whispering in Eve’s ear. This portrays the serpent in the garden, Satan who seduced Eve and her husband into eating the fruit.
After Adam and Eve ate of the forbidden fruit they were cast out of Eden. They lost face-to-face communion with God, a picture of the spiritual death and depravity into which humans are born. We come into the world as slaves to sin, subject to death (both physical and spiritual) because of this original sin. The caption that encloses Adam and Eve reads, “Separation Anxiety,” a reference to their new estranged relationship with God.
From Adam and Even proceeds a line of refugees across the street. They are devoid of color, a deep tan symbolizing their hopelessness and despair. A close inspection reveals the lead figure in bondage. These refugees walk toward the buildings at the far left, which serve as prisons for lost souls. The lost souls present as sick and dying skeletal frames who hang out the windows and from the balcony. They hold signs, which read, “Help,” and “Dear God—Hear Us.”
The scene represents our enslavement to sin; that without Christ and His resurrection we are without hope. From Adam and Eve’s original sin, we are delivered into bondage, crisis, and death. However, with Christ’s atoning work on the cross, we are redeemed. Therefore, we can take comfort that despite even the direst of circumstances, He abides in us and with us. The lost souls who cry out to Christ may appear distressed, but the Savior sympathizes with their plight: “I was naked and you clothed Me; I was sick and you visited Me; I was in prison and you came to Me” (Mat 25:39). Christ appears in one of the windows, representing that He will never abandon those who believe: “I will never leave you nor forsake you” (Heb 13:5).
The caption in the upper left reads, “The Resurrection” is “CPR for the Dead.” But this promised new life in Christ requires us to go beyond mere belief and hope, which connotes doubt, and be certain in our faith: “Don’t just hope so. Know so,” is what another caption reads. Adjacent to this caption is a red-faced man with a long nose. This pictures how people lie to themselves in thinking that they trust God, while in practice, they are not sure of His existence. The figure is depicted with a “polluted” mind, while Michael the Archangel and Satan wrestle for control of his thoughts behind him. Certain faith surrenders its life to Christ, while someone lying to himself will value his own life too much to give it away: “He who finds his life will lose it, and he loses his life for My sake will find it” (Mat 10:39)
At the far right, an over-sized female image cranes her neck forward, as if to examine something closely. Her eyes meet upon the caption, “The Great Commission.” Underneath her is a smaller figure, a female nude on her knees next to the captions, “flawed but faithful” and “pray, pray, pray.” The smaller female nude is a flesh-and-bones human, while the over-sized female above her presents with a more spiritual, ethereal quality.
The over-sized female represents an angel. She examines “The Great Commission,” God’s master plan of salvation. Behind her reads the scripture, “things angels desire to look into” (1 Pet 1:12). Concerning our redemption, God amazed even the angels by what He performed through Christ.
Not all angels receive man’s redemption with joy. On the shoulder of the over-size angel sits another woman. She displays the same cartoonish, spiritual quality. But she presents in more provocative manner, symbolizing temptation and seduction that comes through Satan and his fallen angels. The flesh-and-bone woman underneath is unaware of the spiritual battle which takes place behind her, manifesting itself in her attitudes, thoughts, and actions. She embodies the concept that believers present themselves humbly before God, naked with nothing to hide. As we “pray, pray, pray” and yield to Him, that spiritual Light within us continues to grow, while the influence Satan has over us diminishes.
The question posed in the rearview mirror asks, “Better Times Just Ahead?” This is something each of us must look within ourselves to ask. The mirror is cracked and a skull smoking a cigarette is portrayed in the back seat. For believers, the resurrection guarantees better times ahead. We have put death and our personal demons behind us, as pictured with the skull. For unbelievers, the cracked mirror portends ominous doom on the horizon. Unbelievers loathe and dread the resurrection; for believers will awaken from the dust in a resurrection of song and praise to the mercies of the Lord, but for those who reject Christ, the resurrection is purposed to “cast into the lake of fire” (Rev 20:14-15).
There is no middle ground. Ask yourself, which category do you belong? Do you currently have a communal relationship with Christ? The proof is in the heart, where spiritual resurrection takes place: “The Spirit Himself bears witness with our spirit that we are children of God” (Rom 8:16). The consummation of all hope is in the raising of our bodies, which is the fulfillment of eternal life. For those who do not know Christ, He continues to knock upon the door of the heart. He invites you to open the door.
Larry Word
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