This title represents the paradox that when you are in Christ, Christ is in you. We need not look to religion but inside our very hearts and pray. The text “In You” appears overwhelmingly large in the left corner of the piece. Directly underneath it, the question is posed, “You In?” The text configuration can be read forwards, backwards, up, and down with the same result, thus emphasizing the paradox that if Christ is in you, then you are in Christ: “greater is He that is in you than he that is in the world” (1 John 4:4).
I blended Eastern and Western concepts of spirituality to convey that a relationship with Christ transcends religious systems. It is not some abstract concept of morality but something that may be found right inside oneself, regardless of culture. At center, a Hindu shrine is cut to the shape of a cross with Christ appearing inside an egg-shaped mirror. The text, “Living from the Inside Out” appears above and “May the life within you be strong” is pasted underneath. The invitation to “Come inside,” is posted at the base of the cross.
The geometry of an egg is significant in this piece. The caption, “cosmic egg” reinforces this idea. Not only does Christ appear inside an egg-shaped mirror at center, but He is also flanked by before-and-after photos of a woman inside an egg at the extremities of the collage. The left-side portion represents a life before Christ, while the right side of the artwork portrays a life with Christ.
The body is the living temple of God, the eggshell for the spiritual embryo regenerated to life in the heart by the Holy Spirit. This is suggested by Christ in the mirror. One need not look to heaven to find God but inside one’s very heart.
The woman inside the egg at left appears scattered and discombobulated. At right, this same woman appears reconstituted, healthy, and vibrant. As the text underneath her indicates, this pictures “Before” and “After” spiritual regeneration and faith in Christ.
The new birth spoken of in Christianity is also intimated in Eastern religions. Chakras are said to be the mystic energy pathways that pervade throughout the body. Love and compassion are said to open the heart chakra and expand one’s consciousness to understand spiritual matters. This new spiritual awareness is compared to the opening of a lotus flower. At right, a blue Hindu figure holds a lotus flower above the regenerated egg. He has four arms, suggesting the duality of spirit and soul consciously dwelling in harmony together in one body.
Above the lotus flower, a man flies into the sky. He grew wings and hatched out of the egg. This pictures the fulfillment of God’s promise of eternal life and a bodily resurrection—we shall one day fly like the angels. Though we are physically born in these shells of flesh, through faith in Christ, believers will one day shine as the stars of the firmament.
The left and right sides of the artwork juxtapose life with and without Christ. At right, a man on one knee faces the cross with hands clasped, in prayer. This represents that regenerated “new man,” the spiritual creation born anew within the heart when we receive Christ: “Therefore if any man be in Christ he is a new creation” (2 Cor 5:17)
The antithesis of this regenerative, spiritual nature is the carnal man, also referred to as the “old man” or Adamic nature. This is portrayed on the left of the cross. Again, a man kneels. But instead of his hands clasped in prayer, his fists are clenched and he is ready to fight. This depicts the overt hostility the “old man,” carnal nature displays toward God. The carnal nature can never be in communal relationship with Christ, nor is it capable of pleasing God (Rom 8:7-8); Hence, the necessity of God re-creating a new man: “Put off the old man with his deeds… and put on the new man which is renewed in knowledge after the image of Him that created him” (Col 3:9-10); “For the carnal mind is enmity (hostile) against God” (Rom 8:6).
The man who sits in the chair further exemplifies the left side representing a life without Christ. His back turns away from the Savior. He looks to the fat cat dressed in red, white, and blue. This depicts man putting his faith in government and industry for solutions. The gray tone image sharply contrasts with the colors in the rest of the artwork, alluding to the depression and loneliness endured in a life turned away from Christ.
The man in the chair contrasts with the man with clinched fists. These represent two types of unbelievers. The man with clenched fists faces the cross but is openly hostile. This portrays those who have heard the Gospel but rejected it. The other man sits with his back turned to the cross. A phone is placed upon his ear, but he appears oblivious. The phone cord stretches back to Christ at center. This portrays unbelievers who have not heard the Gospel, the lost still being called by God. The cord passes through clasped hands, signifying the simplicity of prayer in responding to God’s call.
At right a man’s forehead displays an open computer terminal. A male adapter fits into the terminal and extends from Christ, passing through the center of an engagement ring. This pictures the Holy Spirit, which is often compared to an engagement ring, for it is the “pledge of our inheritance” (Eph 1:14). Just as a fiancé receives an engagement ring as a token of promise toward a future wedding, so too is the Holy Spirit a token of promise toward our salvation.
It is significant that the terminal appears on the man’s forehead, for that is where the “sealing” of the Holy Spirit occurs: “And it was commanded them that they should not hurt the grass of the earth, neither any green thing, neither any tree, but only those men which have not the seal of God in their foreheads” (Rev 9:4); “…Go through the midst of the city… and set a mark upon the foreheads of the men that sigh and that cry for all the abominations that be done in the midst thereof” (Ezek 9:4-6).
A life without Christ depicted on the left side of the collage leads to depression, hostility, and poor health. But the phone call to God is as easy as placing one’s hands together and praying. In contrast, a life with Christ promises “happiness guaranteed.” The pink flamingo with sunglasses symbolizes this guaranteed happiness enjoyed by believers. The open terminal on the man’s forehead suggests that all we must do is receive from Him. And, the sealing of the Holy Spirit is pictured by the engagement ring and the location of the terminal.
God invites us into covenant relationship with Him. This is alluded to by the crucified Savior upon the earth (appearing at the foot of the cross) and the lego Moses-man coming out of the darkness and holding the Ten Commandments. These picture the Old and New Covenants. While sinful man could not keep that first covenant of law, Christ fulfilled the law as the perfect God-man. This allowed Him to create a new contract with man. The New Covenant is simple: “Thou shalt Love the Lord thy God with all thy heart, and with thy soul, and with all thy mind… Thou shalt Love thy neighbor as thyself. Upon these two commandments hang all the law and prophets” (Mat 22:37-40); “For the law is fulfilled in one word, even in this: thou shalt love thy neighbor as thyself” (Gal 5:14).
The New Covenant pertains to a supernatural kind of Love that must be received and experienced to be understood. Christ abides in the believer’s heart, opening the “third-eye” to wisdom and germinating that spiritual embryo to life. This provides divine viewpoint and a new frame of reference. The New Covenant based on Love is mystically understood by the paradox: when you are in Christ, Christ is in you. Are you in Him? Is He in you?
Larry Word
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