Contents

The Genesis One Code

Author Daniel Friedmann presents a system of understanding Biblical text through the lens of the Big Bang Theory.

Book Reviews

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Gaze Upon Him

Friar Vito Martinez discusses his project entitled Eccolo and the role of spirituality while creating digital art.

Spirituality

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Activism for a Digital World

As hackers become socially conscious and social media creates critical masses, is social justice changing or just getting lazy?

Tech & Social Justice .........

Creative Development
Mike Gaffneys vocation as a Capuchin friar continues to evolve as his gifts and talents are used to help the poor and needy.

Franciscan Living .........

The Way of the Cross

As we journey through the Lenten season, we take a look at the work by artist and friar David Hirt and his Stations of the Cross.

Divinity & Art

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Cover Art: Francis Playing Sticks by Capuchin friar Mike Gaffney. Done by scratchpad. Read more on page 38.

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About the Author:

Vito Martinez is a student friar with the Order of CapuchinFranciscans of the St. Joseph Province.Vito joined the Capuchins in 2008 after leaving years of being a used-car salesman and a poker dealer. Much of his life experience has been with the poor and marginalized, and Vito chooses to remain committed to help those most in need. In his time as a Capuchin, Vito has served in homeless outreach ministry at St. Bens in Milwaukee, visitation to the elderly at Villa de Merrilac in Pittsburgh, and working with teens at the Capuchin high school seminary in 2

Photo courtesy of the Detroit Free Press

Mount Calvary, Wisconsin. Most recently Vito has used his skills in web design and computers to update and troubleshoot various computer systems...a task that often costs religious organizations large sums of money. Currently Brother Vito attends Saint Xavier University, double-majoring in Computer Studies and Philosophy. He plans to attend the Catholic Theological Union in Chicago as he pursues priestly ordination, as well as grad studies in either Web Development or Science & Technology Studies. Last May, Vito was invited to Rome to meet with other Catholic bloggers regarding the state of the Internet and the use of social media as a means of evangelization.

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Book Reviews

The Genesis One Code

Friedmann presents a system of understanding of Biblical text through the lens of the Big Bang Theory.
The Genesis One Code by
Daniel Friedmann
can be argued that the presentation of the religious material confirms the scientific approach rather than independently arriving at that same conclusion. For example, if scientific knowledge later showed how the universe was 23 billion years old, its possible that Friedmanns religious interpretation of Creation could be altered to fit that number as well. As Catholic Christians, we are invited to see science as something that compliments our faith, not to see it as something that contradicts it. It is, for some, a hard part of our Catholic faith. This has been especially troubling throughout the Churchs history as it dealt with advances in science...a point that Friedmann makes in his book.

his month I had the opportunity to preview The Genesis One Code by Daniel Friedmann. As a student of both religion and science, it was a wonderful opportunity for me to read and critique the work of someone whod found a way to interpret science and faith as disciplines that can point towards a common truth. The Genesis One Code focuses on cosmology as told by the scientific community as well as through his own faith. This is an initial problem for people of different disciplines: the evidence towards an old universe conflicts with the 6-day creation narrative of the Abrahamic tradition. While these two approaches towards the creation of the universe appear to be incongruent, the focus of Friedmanns book is to show that, indeed, both the scientific evidence and the 1st chapter of Genesis point to a common truth: scientific findings regarding the age of the universe are in agreement with Genesis that the world is 13.75 billion years old (plus/minus .13 billion years). This is a strong claim, however Friedmann shows that he is familiar with the both approaches. One of the things I enjoyed about the book is that it did not present one side to be more correct than the other...an approach that would have easily imbalanced a highly volatile thesis. Rather, the author systematically approaches both disciplines, explains the history and thought behind both, and provides a mechanism of thought that seemingly unifies the fields of science and religion. I say seemingly because Friedmanns methodology raises some questions. The author does well to illuminate his sources as well as explain their importance to the discussion, especially when discussing the entirety of Jewish Law. However the use of these various sources does not make Friedmanns conclusion necessary. Rather, it

Scientific findings regarding the age of the universe are in agreement with Genesis that the world is 13.75 billion years old (plus/minus .13 billion years.
This is where, in my reading, the book has the most value. Daniel Friedmann, when presented with contradictions between science and religion, chose to learn both rather than picking one and dismissing the other. Friedmann presents an understandable description of the cosmology of the universe, including the Big Bang Theory as well as the Theory of Evolution. Both are not fully explained, however I found myself learning more about the structure of these theories as well as the science behind both. Similarly, the author explains the depth of the understanding of Genesis from the Judaic perspective.

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Book Reviews

The Sombrero Galaxy with Super Black Hole in the Middle M 104 - NGC 4594 - This is an unbarred spiral galaxy in the constellation Virgo. It has a bright nucleus, an unusually large central bulge, and a prominent dust lane in its inclined disk. The dark dust lane and the bulge give this galaxy the appearance of a sombrero. The galaxy has an apparent magnitude of +9.0, making it easily visible with amateur telescopes. Image taken by Hubble Telescope.

It is clear from the book that the author has taken time to educate himself in both areas of study. Genesis One is a framework not just to look at our beginnings, but provides an example of incorporating science and faith towards a common goal. Genesis One is a unique read in that part of the book reads like a science text while the other reads like a Raymond Brown text...bombarded with references and various interpretations of religious thought. Thankfully, the author provides timelines and visual aids to help readers synthesize the data. If you are looking for a spiritually

stimulating book, this might not be your choice. However if you are looking to read something that will increase your knowledge as well as make you think about your own viewpoints, this is the book for you. I also recommend this book for Catholics who, although have no official teaching on the Evolution and Big Bang Theories, are encouraged to come to their own positions that compliment faith and science. The Genesis One Code will provide an insight towards thinking of religion and science as complimentary disciplines that can both lead humanity to understanding the truth. u
by Vito Martinez, OFM Cap.

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Spirituality

Gaze Upon Him

Echoing the writings of St. Clare of Assisi, Eccolo invites us to gaze upon the crucified Christ as we reflect upon a cardinal aspect of faith, rendered through a new medium.
variations on its surface...again, because it is the smoothest part of the carving. Capturing this in the image would provide an initial focal point for the viewers eye. After the cross was rendered, the reconstruction of the corpus began, starting from the feet. Early on, I realized that the actual trace would became a mosaic of values and saturations in an attempt to properly render reality for. Due to the light source and the odd way light affects wood, much of the work was done at a highly magnified level. In fact, some of the work cannot be seen by the naked eye, but when set in place amoung the many values and hues of the image, it creates a unique blend that is similar to the unique appearance of the wooden original.In a similar way, the process was repeated for each aspect of the body. By using a method of connecting colors like a puzzle, rather than building

hen choosing a topic for my art, one of my goals is to creat something with theological rammifications. A lot about art is how the viewer interprets the piece. Since I would like my work to reflect my desire and discernment as a religious friar, my goal is to imprint a hint of the divine in all I do. Eccolo is a manual photo trace done with Adobe Illustrator. The image was taken at my friary here in Chicago. The craftsman who made the cross is unkown; it is very old and was given to my province from Italy. Mark-Joseph Costello, student of the Chicago Art Institute and consultant for worship spaces all over the world (including McDonnell Chapel at Saint Xavier University), designed the chapel where this image was taken. Since the object of this photo trace was made from wood, various considerations had to be made in the composition of this piece. First and foremost, the wood carving does have a few smooth surfaces. Its many edges are pronounced and drastic from its original crafter. Second, the wood is porous and reflects light in a unique, non-uniform fashion. Various greens, browns, reds, magentas, and values of grey compose areas in this image. Third, the image captures an image of depth: a 3-dimentional object casting a 2-dimentional shadow onto a flat, angled surface. A strategy had to be made before attempting to render the photo. I drew the cross first because it had the smoothest surface, and it serves as the base for the rest of the image. the cross also has the widest range of

Attention to detail: Part of Eccolos unique look is from its mosaic-like detail. Top: Picture of original picture at 6400% magnfication. Bottom: Artists rendering of the same area at the same magnification. Now look at the full image. Can you see the fine detail?

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Spirituality
layers on layers, the composition required over 1000 layers and over 30 hours of work to complete. While I didnt actually time myself as I worked on the project, 30 hours is the best estimate I can make. As I continued to draw and compare the trace with the original picture, I was aware of a desire to render as realistic an image as possible. It was not necessarily because of the picture, but because of the theological importance that the image represented, and that the trace would also represent. Reminded of the European artists who painted images of the Bible in such a way that their works were used to instruct and to provide a visual connection to those who visited the churches and cathedrals, my hope is that my work provieds a visual connection with the viewers faith. I realized that the overall concept of the piece would be theological in nature, and one that would be emphasized with a composition that best rendered reality. The construction of the head was the most exhaustive process. Countless shapes and hues were used to render an overall image that was as real as the original. Each small shape was traced against the original, then a proper hue was selected to best represent that area. Sometimes the decision of the color value and the hue were as exhaustive as the drawing of the actual shape. And since much of the work was done up close, I was forced to zoom in and out to see how the viewer would eventually see the artwork. Similar to how an artist, in creating a large-scale piece may need to step back and view the entire work, I also needed to zoom out and view the process from a number of different sizes and angles. At times I felt like Michaelangelo, attempting to paint an entire ceiling with a single brush...trusting that the small details I was making would be part of a greater image seen from further away. While the crucifix is an easily recognizable icon that grabs the viewers attention, I wanted the back-

Reminiscent of the European artists who painted images of the Bible, my hope is that my work provides a visual connection with the viewers faith
ground to be a functioning part of the piece as well. The background of Eccolo is an important part of the artwork in that it creates realism out of simple 2-dimentional illustration. In our chapel, the actual crucifix stands near the wall, where a specific light is designated to create the shodow as seen in the image. Because of this, the shadow creates a detailed profile of the crucifix, which is an artwork all its own. So in properly rendering the backgroup for this piece, not only was I building a 3-dimentional space to increase overall realism, but I was including another artisitc image into the overall photo trace. By tracing the shadow, I was presented with the challenge of not only creating a slanted and angled backdrop to give the appearance of viewing the crucifix from the lower-right side, but I also needed to properly hint at a light source coming from above and to left. And while the wood carving provided sharp changes in color, the white wall was a smooth gradient that showed different values of grey. To properly render this, I selected a color from the original picture, then used a transparent radial

Zoomed to 2400%, the piece looks like a clay sculpture rather than an Adobe Illustrator photo trace. This adds to the uniqueness of the piece.

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Spirituality

Building Dimentionality: (left) The original cross is built as a 3 dimentional object. (middle) After the corpus is drawn, the shadow is placed against the background. And finally a light source blends everything together.

gradient to transfer from the background color to the white that would represent the light source. I adjusted the opacity of the gradient as well as of the shadow in hopes of meshing the two together. Perhaps the final touch is the use of the title as part of the artwork. Our class only requires that we add our name and some information to each piece, but not specifically how we do it. Not wanting to disturb the dimentionality that is created in the piece, or detract the viewers experience by creating a title that appears out-of-place, I used the 3-D text tool to warp the text in a way that would perpetuate the illusion of a flat wall behind the crucifix. The word eccolo is Italian for Behold Him, a Christological understanding that was started with Saint Clare of Assisi. Behold him, consider him, contemplate him...and desire to imitate him is the entire quote. Wanting a title that would both set the concept of this piece while still convincing the viewer of the 3-dimensional nature of the image, the title became part of the image. The text was rendered using the 3-D Object tool in Illustrator, then matched to align with the overall angle of the image. The text works to convince the viewer that they are seeing this object from a specific angle, that they are viewing the object near a flat surface, and the depth of the overall piece is real. Perhaps the greatest reward of making this photo

trace in Adobe Illustrator is that it has transformed my own prayer experience. When I attend prayer in the mornings and evenings, this crucifix is always there. For a time, it was just another object in our worship space. However after spending so much time painstakingly trying to re-create the realism of the actual carving and its position in our chapel, the actual crucifix has become a tool for personal reflection as I spend my time in prayer. u
by Vito Martinez, OFM Cap.

A look at my work-station. All the work was done in Adobe Illustrator CS5 on my personal Mac Book Pro. Plugging my MBP into my external monitor makes it easier to work with illustrations in Illustrator, as well as giving me another view of how different colors look on different screens.

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Spirituality

Alone in the Chapel

Image taken with digital camera and edited in Adobe Photoshop. Image was softened, and filters were added to add grain as well as accentuate the lighting. photo by: Vito Martinez

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Value Drawings in Illustrator

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Value Drawings in Illustrator

Filling It In
Using a variety of brush sizes, color values, and stroke types, reality can be rendered in unique ways.

uring week three of our Computer Graphics class, we were given two different tasks. The first was to make three drawings using values of color to render an image. The second task was to move away from line strokes and use a letter or number to create an image. All images were made using Adobe Illustrator and a Bamboo graphic tablet. All images were completed on my Mac Book Pro. When crafting the various drawings, I tried to used different brush sizes in order to produce different results. Generally, smaller brush sizes create a scratchy look when used to create an entire image. The wine bottle pictured on the left was made using a 2pt brush, while a 3 pt brush was used to fill in the negative space. It gives the appearance of a wire or wicker construction. A black box lies behind half of the image. When compared with the white rectangle at the bottom half, it produces an attractive effect for the eye. The black also accentuates teh blue values in the bottle while contrasting the white. The metal water bottle shows how different brush sizes can be used to create an overall image. The image was initially constructed with quick, horizontal lines. This is a trick to quickly sketch the overall shape of the container. I then used fat, vertical lines...giving the appearance of a smooth surface. Small lines were used on the top of the water bottle in order to capture that various light values as well as to render depth. White space was used to represent this area under the cap as a way of drawing the viewer towards the top of the image.

Pictured: Wine bottle against black background (left) and a metal water bottle (right).

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Value Drawings in Illustrator

Composing the value drawings can add another element to the overalll feel of the drawing. In the previous illustrations, straight lines were used almost exclusively. But what happens when you use shapes or strokes that arent smooth? The effects can be quite drastic, affecting the overall feel of the piece. This simple wine bottle was used by making the number 3 over and over. Different brush sizes were used to create the different parts: large brush strokes compose the various green values of the background, smaller brush strokes render the actual bottle shape, while very small strokes add the highlights and shadows.

Using different brush shapes and strokes can have a drastic effect on the overall feel of the piece.
Pictured: Wine bottle made by using the number 3 (right), while a smoother tea cup is rendered by using the letter D (below).

Perhaps as contrast, this bowl shows the opposite effect of a brush stroke. I realized that the X was going to create a very different type of image than the other values Id used previously. Even when laying the backdrop of the image, I realized that this would not be a smooth or soft piece like the others. Aware of this, I chose to emphasize the harsh and jagged nature of this rendering. Initially the eye is drawn to the blue bowl, then to the large X in the background. The small brush creates a thatched look, as if the bowl could actually represent a blue bird house. Overall, the use of this stroke creates an angry and abrasive feel, and the smooth bowl is lost in the overwhelming emotion that the X evokes from the viewer.

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Value Drawings in Illustrator

Only Half A Cup, Please.

Illustration in Adobe Illustrator. The letter D was used to draw the entire image. Various green and red values render the background and the effect of the light on the smooth tea cup and saucer.

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Line Drawings

100 Lines Only

5 Drawings. 100 strokes. My first art assignment in Computer Graphics.

he first lesson of my computer graphics class focused on getting used to the various tools. The assignment was simple: make 5 sketches using exactly 100 strokes in each drawing.Not knowing how to start, I drew what was on my desk at the time: a pop can.

Definition - pop: A word used in various parts of the midwest to refer to carbonated beverages. A synonym for soda. If someone asks you for a pop, please dont hit them in the face.
The candle holder was an image I tried with a smaller brush. I found the smaller brush to be tougher to use, and that it renders a scratchy look to my drawings. Like the pop can, I drew this image several times before choosing to keep this one. In the future, I will prefer to use at least a 2pt brush.

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Line Drawings

This drawing is of a 3-stemmed candle holder. Oddly enough, I tend to have a lot of different kinds of candle

holders in my house. I felt the most comfortable drawing this object. Using a graphic tablet takes practice, and this image felt fluid. The drawing uses both vertical and horizontal lines to represent the rectangular edges on the base. A 2pt brush was used.

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Line Drawings

The coffee cup sketch allowed me to work on my vertical stroke...something I already recognize as a weakness. I actually drew this image 3 times...this is the drawing I chose to keep.

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Line Drawings

The hexagonal vase proved to be a tough image to draw for two reasons. First, it used vertical strokes exclusively. Second, the shape of the object presented some issues Id not foreseen... issues in the fact that I am not a artist and I could not sufficiently render the dimensions of the object. In its defense, the vertical strokes felt more fluid in this drawing.

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Technology & Social Justice

Activism for a Digital World

With numerous hacked websites and viral videos calling for action, what role does technology have in bringing about social change?

he phenomenon is known by different names: vigilante programmers call it hacktivism. Skeptics call it slacktivism. Yet others working for change call it digital humanitarianism. Regardless of the name there is an increasing phenomena amoung people who, through the use of their skills and Web connection, are attempting to raise awareness, create change, or actually influence the transfer of data for a political cause. With a mandate to evangelize the digital continent, it can be confusing for people to understand everything in the context of their faith as to what is charitable, what is justice, and what kind of commitment is required of us. Perhaps the first question to ask is whether these causes are bringing about real change, or whether they only make us feel better.

Sometimes disobedience is good when rules fail us, and its at the core of why we hack. -Adam Dachis
power and justice in an arena that not many people are skilled with. Anonymous are the comic book heroes of the 21ist century - masked and united for a cause to benefit humanity from the evil plots of corporations. The actions of Anonymous are no longer the exception. One of the most common reasons given for hacking are political, not personal. Regardless of whether or not the interpretation is correct, the idea that hackers are troublesome nerds looking to create mayhem and destruction for pesonal pleasure is no longer a relevant narrative. In an article on Life Hacker, author Adam Dachis writes: Sometimes disobedience is good when rules fail us, and its at the core of why we hack. Whether you call it Hacktivism or Cyber-Terrorism, its probably at the forefront of digital activism today. Todays radical activist isnt traspassing on government property or actively obstructing some action, rather they are hacking email accounts, sharing confidential documents on WikiLeaks, blocking interet access, and even bringing down web sites. In December of 2011, the Russian preliminary elections were pounded by various hacks across the entire country.

The New Super Heroes?

One of the high-profile incidents in March happened when the loosely connected group of international hackers called Anonymous brought down the Vatican website for half a day. The Catholic Church is one of the various targets that have been attacked by Anonymous in the past few years as the group seeks to attack institutions and organizations that it feels are oppressing or cheating others. Their ability to wreck havoc on corporations and disrupt online commerce has made them a threat on the national level. According to the manifesto published after the Vaticans web site was attacked, the group claiming responsibility was the Italian branch of Anonymous. There is a lot of support for Anonymous in the wider community, perhaps because they represent a symbol of

Adobe Illustrator Trace (right): This piece was taken from an actual picture, then auto-traced by Illustrator. Filters and values were adjusted to create the image as seen on the right.

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Technology & Social Justice

Hackers Anonymous - The Guy Fawkes mask, often seen as a symbol of protest against large institutions, has more recently become the face of the group Anonymous, a loosely connected group of politically-motivated hackers. Original image used from the movie V for Vendetta.

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Technology & Social Justice

Unfortunately, like in many cases, other people became unwitting participants of the entire attack. This is perhaps one of the biggest critiques of hacktivism. Distributed Denial of Service attacks (DD0S) are often used to bring down web sites, and usually by people who have large zombie farms, groups of computers that, while unbeknownst to the owner, can be used to send random packets to whichever site the hacker wishes. The morality of Anonymous actions seems to be a grey area - yet it is probably the most comparable to activist groups who have historically engaged in disobedient or obstructive behavior with authority. Whether or not one agrees with the group is perhaps another discussion, however it is plainly evident that in todays world, hackers are looking to make a statement or influence the world as opposed to just cause trouble.

The Power of Going Viral

In the same week that the Vaticans web site was hit, one of the most viral YouTube videos of the year was released. In an effort to bring awareness, the group Invisible Children released a 30 minute video discussing the atrocities of Kony Joseph in Uganda. The group has published many movies regarding the kidnapping of children for use as sex slaves or as soliers, however it was this recent video that propelled the name Kony to international attention. And while we can all agree that the horrors are real and need to be stopped, the question is: how do we help? The Kony video serves two functions: it raises awareness about an injustice and it challenges its viewers to take action. Anyone whos worked in social justice issues will tell you that both tasks are not often easy, and many issues are gone unanswered due to a lack of awareness or a perceived apathy. When we are galvanized around a cause, we are capable of doing amazing things. However with large-scale awareness via social media comes several problems as well. One critique is that it focuses on one incident rather than looking at the overall issue. For instance, child soldiers have been used in countless wars in Europe, Asia, and Africa. Armies in Sudan and the Congo are believed to use child soldiers, and the U.S. government provides support to both countries. (cont.)

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Technology & Social Justice

Created by street artist Casio.

Created by graphic designer Felicia Follum.

Internet Inspires Art Inspires Action

Since the release of the viral video produced by the Invisible Children Organization, other artists have become inspired by the message and the art that the movement has produced for public consumption. Street artist Casio (left) displays a stencil piece of street art inspired by the plight of Ughandan child soldiers. Street art is often used to present a relevent theme or image to a wider audience outside of the galleries or other areas that art may be confined to. Felicia Follum is a graphic designer who chooses political and social issues to insire her art. Her Stop Kony poster (right) is available for those who will be a part of the movement on April 20th to cover the country with the image and name of Joseph Kony.

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Technology & Social Justice

Second, the video focuses on Kony as a household name. By approaching the Ugandan crisis in the same manner as branding a label, thereve been many parodies that use Kony in posters, artwork, and other expressions. In a video released by Al Jezeera, or experience, and in some cases, can even desensitize viewers from the actual message.
Parody poster created by blogger Commadore Crush.

Ugandans expressed anger at the way that Americans are reacting to Kony Joseph. Some see the viral video as a joke or a bit of pop culture and not the humanitarian issue. The Internet removes people from an actual event.

Internet Inspires Art Inspires Parody

By its own nature, the popularity of anything on the Internet leads to critique and parody. The images below show how the popularity of something, even if its intentions were noble, can be distorted and twisted into a new message. It also speaks to the mechanism of media through which people receive information, and how our culture reacts to a highly popular experience and/or phenomenon.
Internet meme. Original artist unknown.

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Technology & Social Justice

Third, the video purpetuates a neo-colonistic attitude that has been shunned by other regions of the world. The idea that Westerners should come fix our problems is an American ideal, and other nations have backlashed against this mentality, sometimes violently. While we may be moved by the pathos of the message in the video, American involvement in foreign issues has not always had the positive effect that was hoped for. minimum necessary, rather what is the most we are capable of. The Web will continue to be a powerful tool to raise awareness, encourage action, and to inspire others. If we are going to engage the problems of the world, our primary position is that the Internet is the means, not the end, by which social change is capable in the world. . u
by Vito Martinez, OFM Cap.

The Internet removes the individual from an actual event or experience, and can even desensitize viewers from the actual message.
Finding the Right Answer
In the 21st century, how do we properly define activisim and engage in meaningful causes that seek justice for the oppressed and best reflects the Kingdom of God that we as Catholic Christians are called to live? Perhaps there is a feeling that: At least Im doing something to make the world a better place. Yet, if we are to live in accordance with our baptismal call, shouldnt we always doing some thing to make our world a better place (or at least always trying)? Perhaps in response to desctructive actions by those from Anonymous, an agressive movement and demonstration of public disturbance, we recognize the achievements of those who sought non-violent means of protest.Despite numerous attempts to bomb and destroy his radio tower, Archbishop Oscar Romero used radio to speak out against injustice and preached a message of compassion and reconciliation based on the Gospel. Cesar Chavez aned Delores Huerta actively supported the rights of farm workers through non-violent means while still raising public awareness. There are numerous modern-day examples of people who took action in the face of injustice to raise awareness. When it comes to popular Internet causes, perhaps we should see things like the Kony video as invitations to do more with our lives. Our default should not be the

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Franciscan Living

Creative Development
hough few might actually know, the appreciation for the arts is a large part of Franciscan spirituality. While Jesuits and Dominicans are often considered to be the heady religious, the Franciscans are more about the heart...acknowledging the love of God as the reason for Jesus incarnation. Capuchin friar Michael Gaffney is an example of such a friar. Mike started off as a printer and photographer at St. Lawrence Seminary in Mt. Calvary, Wisconsin. Most of his work involved fundraising for the school, and he was able to nourish his love for the arts in this role. Years later he would be moved to Detroit with the Solanus Center and the Capuchin Soup Kitchen. He describes time as entering the creative side of development and used his skills to raise funds for various ministries in the Detroit area. One of the unique aspects of Brother Michael is that hes used his role in Detroit to transcend various mediums of art. He is an accomplished painter as well as a sculpter. Hes done various bronze casting projects for the Capuchins as well as other ministries. Hes worked with paint, clay, wood, plaster, and most of the traditional mediums. Other forms of work include: graphic design, ink-pointillism, iconography, street art, and logo design. As the role of art has changed, Brother Michael has also expanded his gift. Hed done various pieces through Adobe Photoshop and Illustrator.

Brother Michael Gaffney started his Capuchin career as a printer and photographer at a high school seminary. Today, Michael has work all over the world.

Self-Portrait - Michael Gaffney has continued to explore new

mediums of art as a friar. This self portrait, done with Adobe Illustrator, serves as an example of how far Michaels art has progressed since he started to pursue his passion.

Brother George - One of Brother Michaels first sketches

was of an old friar at St. Lawrence Seminary. He was an old German friar who, at the age of 90, was still spry enough to move about. Working with elder friars would become a theme for Michael as his work progressed.

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Franciscan Living

Franciscan Focus - Much of Brother

Michaels art is used at various locations of the Capuchin Franciscans. His bronze Sister Death (top) stands amidst the Capuchin cemetary in Mt. Calvary, Wisconson. Other art is used at St. Bonaventure Friary in Detroit, MI. (right).

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Franciscan Living
When Brother Michael reflects on his life as a friar and his development as an artist, he says: My work in the Order has brought me many experiences as well as travels throughout the world. I am grateful for all that I have been able to create and to share with others. u

My work has brought me many experiences as well as travels throughout the world. I am grateful for all that I have been able to create and share with others.

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Divinity & Art

Stations of the Cross

Bro. David Hirt shares his gift and his vision to present an image of the Station of the Cross.

Station 1 - Jesus is Condemned to Death

Station 2 - Jesus Takes Up the Cross

death. Brother David Hirt, a Capuchin Franciscan artist, poet, and student at the Catholic Theological Union in Hyde Park, adds his collection of the Stations to that collection.

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he Stations of the Cross, a devotion started by Francis of Assisi, was a way to meditate and ponder on the crucifixion of Jesus the Christ. Over the years, various artists have sought to add their skill and their insight on the 14 (once 16) stages of Jesus

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Divinity & Art

Each of these drawings are done in white chalk on slate. Each slate is its own individual piece, however they serve a religious purpose, and therefore each image is part of a complete set. Images of the Stations of the Cross, like other religious art, have transformed through the ages. When the Stations of the Cross were finally approved as an acceptible devotion by the Catholic Church, artists created beautiful and elaborate renditions of each station.

Station 3 - Jesus Falls the First Time

Station 4 - Jesus Meets his Mother

However as churches becamse smaller and the religious art became minimalist, very simple icons or carvings were used to symplize t each station. Within the past 15 years, religious art has undergone a re-awakening of its use and purpose in both the church edifice as well as Liturgy. Church goers seek art that allows them to enter into the experience of the event. Rather than just being a symbol of an experience, churches are using art that, based on what the people feel, allows for better integration and contemplation on the mysteries of the faith.

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Divinity & Art

When I asked David about his inspiration for making the Stations of the Cross, he said: I chose to make the stations the way I did because I was intrigued, at the moment, with using the black of the board as the substance of the pictures with the white defining the edges. Looking at each piece, we can see how David accomplishes this. The cross is the most predominant, and perhaps the most important visual symbol in this devotion. As a way to make the cross more recognizable, the back-

Station 5 - Simon Carries the Cross

Station 6- Veronica Wipes Jesus Face

ground is covered with long strockes of chalk while the cross is highlighted by the grains of wood. These grains are long, thin lines signify the wood of the cross. Regarding the choice of hues, David says: I had a short time to make many [images], it seemed easier to limit my color palette. While the images are solely black and white, the effect of the vertical, wide chalk strokes provides a soft background for the focus of the image. The brighter areas around the main icons also draw the eyes deeper into each image.

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I was intrigued with using the black of the board as the substance of the pictures with the white defining the edges. -Brother David Hirt, artist

Station 8 - The Women of Jerusalem

Station 7 - Jesus Falls a Second Time

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Station 9 - Jesus Falls a Third Time

In looking at the concept of these stations, David refers to it as the Caring Face and Hurtful Hands Motif. We see how, for many of the images, the face of Jesus is subject to the will of the hands of those who are putting him to death. For David, it was something that developed rather than being an intentional aspect of the entire work. They were the Spirit moving, with the change to the Caring Hands in the last station.

Station 10 - Jesus Stripped of His Garments

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Station 11 - Jesus is Crucified

Station 12 - Jesus Dies on the Cross

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Divinity & Art

Station 13 - Descent from the Cross

Station 14 - Jesus is Laid in the Tomb

The stations of the cross are not Davids first venture into religious art. Through different mediums, he has drawn and painted various iconic images of Catholic faith, including the Arbor Vitae, the Pieta, and the Holy Name of Jesus. Most recently, he completed another series that represents the various choirs of angels. u

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Artist: Bro. David Hirt, OFM Cap.

David Hirt is a friar with the Capuchin Franciscans of St. Joseph. He graduated from Wabash College with an Arts Degree, and received his Masters at Wayne State University in Theatre Set Design. Currently he is finishing a Masters in Divinity at CTU in Chicago, and he is preparing to start an MA program in Spirituality at Creighton University. Brother David is a published poet, maintains a video blog, and ministers at a high school seminary in Wisconsin as well as the 8th Day Center for Justice in Chicago. He enjoys cyberpunk movies, Weird Al Yankovic, and understands the Muppets at a deep, philosophical level.

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Midrash

Theology Made Simple

Joyfullness as a Virtue
Francis of Assisi presents a variety of different models to understand and live out our faith. Whether we view Francis as a friend of nature or Francis as one who eshews wealth to serve the lepers, there are numerous ways that Francis life still speaks to us today. One of the unique aspects of Francis life was his joy: both in service to others and in his love of God. Within the Franciscan tradition, we hear stories of this, such as Francis picking up two sticks to play them as a viola as he sang out of joy to the Lord. Francis example is not extra-biblical, nor is it extraordinary. There are times in our lives when we can be brought low by the struggles and trials of daily life... brought to a point when even our faith is more of a task than a treasure. As we struggle to live accoding to our baptismal call, it is important to have reminders that our faith is a gift of love, a self-emptying exchange between God and humanity. While we may fail at trying to live up to certain expectations, its important to remember that our faith is a gift, and as such, we should celebrate not only the gift weve been given, but celebrate the One who has given it to us. u

Cover Art - The original image of Francis dancing

with the two sticks was done black on white in scratchboard. For this editions cover, the colors were inverted. The original image is included to show the artists actual work before it was altered. More of Mike Gaffneys art can be seen on page 26.

a sweet melody of the spirit bubbling up inside him would become a French tune, and would break out in a song of joy. He would pick up a stick from the ground and put it over his left arm, while holding a bow bent with a string in his right hand, drawing it over the stick as if it were a viola, performing all the right movements, and in French would sing about the Lord. All this dancing often ended in tears, and the song of joy dissolved into compassion for Christs suffering. He was caught up to heaven.
Vita Segunda - Thomas of Celano

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Christology of Marc Chagall
During February of 2012, I was required to attend a tour at the Chicago Art Institute. During this tour, we were required to pick one piece of art as the masterpiece of the Institute, and explain this critique. The piece that I found most impressive, and the piece that I think stands as the masterpiece of the Institute, is Chagalls White Crucifixion. This is an oil painting on canvas, done in 1938. The time is significant in that it the piece speaks to the reality of Jewish oppression that was taking place in Europe at this time. The piece is composed rather simply, with not much detail in the figures or objects that exist on the canvas. Chagall uses the crucifix to immediately draw attention of the viewer. The crucifixion is an extremely recognizable icon that has tremendous meaning, and by using it he draws the viewers attention and creates an immediate conceptual idea. Not much color is used in this piece, nor does this piece demonstrate great depth or detail. The few changes in color values are dramatic; grey is the only gradient in this image. One can assume that the drastic value differences were chosen by the artist to draw attention to those areas. There are two light-sources: one that is rendered to come from above the painting, as well as a small light source below the feet of Jesus. These light sources do not create shadows, but rather emphasize those immediate objects. White Crucifixion is composed in the ways of an iconography rather than a painting intended to render a perfect realism. The overall image is a story, composed of smaller images that have a specific meaning. And when all these small stories are put together into a large painting, an overarching story is told. Like other artists such as John August Swanson, Chagall is interested in the narrative much more than in the realism of the image. And it is the concept that makes this piece the best in the Institute. Much of Chagalls work surrounds the events of World War II and the treatment of Jews at this time. Perhaps this influenced his decision to emphasize the Jewish lineage of Jesus. The image presents a Jewish Jesus, along with the biblical patriarchs and matriarch, at the time of crucifixion. Surrounding the crucifixion are other

White Crucifixion - Painted by Marc Chagall. This work is a series of crucifixion images to present a Christology focused on the Judaic heritage of Jesus.

symbols of oppression and martyrdom that are happening at the time this painting was made. While this painting was made as the Holocaust was starting, Chagall would have also been knowledgeable of the larger theological implications of a Jewish Jesus image. Soon after the death of Jesus, as the Gospels were being written, there came a shift in the recognition of Jesus as the Messianic Figure from the line of David. As evident in the letters of Paul, the desire was to take the message of Jesus to the Gentiles, and in doing so, the image of Jesus was eventually removed from his Jewish roots. The Christological statement that this painting makes is astounding as it attempts to reach back in time to re-capture an understanding of faith that has been lost through the generations. u

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Disclaimer -

Credits
http://news.cnet.com/2300-11386_3-10004930.html p1.2 capstone for Activism for a Digial World: Kony 2012 Poster by Kieron. http://genetichax.com/graphics-room/18615-kony-2012poster.html p23.1 image for Activism for a Digital World Product of Joseph Kony by Casio Original location: street art in Los Angeles http://melroseandfairfax.blogspot.com/2012/03/joseph-konystreet-art.html p23.2 image for Activism for a Digital World Stop Kony 2012 by Felicia Follum. http://feliciafollum.blogspot.com/2012/03/stop-kony-2012. html p24.1 image for Activism for a Digital World Kony Danza 2012 by Commadore Crush http://blog.commodorecrush.com/index.php/2012/03/konydanza-2012-poster/#disqus_thread p24.2 image for Activism for a Digital World Joseph Kony is an internet meme with various forms. No actual artist claims ownership. Originally posted at: http://www.playdota.com/forums/showthread. php?p=4642289, however the author does not claim ownership. p39. image for Christology of Marc Chagall White Crucifixion by Marc Chagall. [Painting]. (1938). Chicago Art Institute. Chicago. Retrieved from http://cruci ality.wordpress.com/2009/07/24/christ-is-our-peace-areflection-on-ephesians-21122/chagall-the-white-cruci fixion-1938/

All material included in this magazine is used for educational purposes only. Any and all funds gained from this magazine are considered donations under the 501(c)(3) section of the United States tax code, and are deductible to the fullest extent of the law. The sale of this magazine or any artwork/articles with the intent to create a profit is strictly prohibited. Permission is granted to make copies of part or all of this magazine. Reproduction of content not owned by the St. Joseph Province of Capuchin Franciscans must be attributed to the original creator.

Written All articles are copyright by digitalfriar.com, a subsidiary of the St. Joseph Province of Capuchin Franciscans. Any and all written material by the author may be used freely. Sources are cited as follows:
Friedmann, G. (2011) The Genesis One Code. Park East Press. New York. Armstrong, R. (2001) Francis of Assisi: Early Documents. New City Press. Hyde Park, NY. Volume 3. Dachis, Adam. Lifehacker. http://www.lifehacker.com written: Oct 10, 2010. http://lifehacker.com/5672997/the-bene fits-of-disobedience-why-we-hack Gaffney, M. Art for Gods Sake. http://artfgs.com written: April 4, 2010. http://www.artfgs.com/clergy-artists/

Artwork Unless otherwise sited, all artwork in this magazine is copyrighted by the St. Joseph Province of Capuchin Franciscans, although individual pieces may be attributed to different artists under the Capuchin umbrella. If any piece of art is reproduced, please give credit to the appropriate artist. Artwork used by artists outside of the St. Joseph Province of Capuchin Franciscans are as follows:
p1.1: capstone for The Genesis One Code: Big Bang by Leo Villareal. photo by Daniel Terdiman

Photography All photographs, images, or logos are copyright of the St. Joseph Province of Capuchin Franciscans unless otherwise noted.
p2 image from article regarding Capuchin ministry in Detroit. Printed: July 30, 2011. Digital image used from Capuchin archives. p5 image from hubblesite.org p21 image from movie V for Vendetta. (2005). Copyright - Warner Bros. Company.

Thanks to Brothers David Hirt and Michael Gaffney for gratefully contributing their artwork to this magazine.

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