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What is visual about worship? Perhaps the question should be, “What is not visual about worship?” Of course, the spiritual aspects of worship, the sounds of music and spoken word, the aromas, and mystery of God’s presence are not visual. But is not the impact of the nonvisual dimensions of worship and the proclamation of the Word strengthened or weakened by the visual in worship? Do not the worship environment, the architecture, furnishings, color and equipment play a significant role in the total experience of worship?

An Imaginative Walking Tour of Your Worship Space
Step for a few moments into the shoes of a first-time visitor to your church. This is often difficult because we quickly adjust visually to our worship environment and lose the freshness of the first impression.

Begin your tour either physically or mentally at a time when no one else is present. What do you notice first? What grabs your attention? Is there order or disarray? Is your line of sight directed to the altar and/or the cross or to another symbol of God’s presence, power, and grace? Do the architectural elements evoke harmony or confusion? How does light affect the space? color? texture? What emotional responses might one experience simply by entering this space? Awe, wonder, peace, excitement, joy, warmth? Or perhaps confusion, disappointment, apathy, even repulsion? Any or all of these responses are possible in churches today.

More pointedly, as you tour the sanctuary or other worship space, say on a Monday morning, do you find hymnals askew, bulletins from the past few Sundays on the floor or sticking out of pew racks, an empty vase or a stack of literature on the altar? Are the paraments appropriate to the season? Are banners changed with the season, or are they left up indiscriminately? Is it obvious that thought and care go into maintaining this place where the community gathers to worship God and find fellowship with the family of God? Is the space welcoming? Would you want to worship here?

Now stand back and imaginatively observe what happens visually as your worship hour approaches. What happens as people begin to arrive in the worship space? Is everything in order and prepared, inviting worship? Does it encourage fellowship or quiet meditation? informality or formality? Is it clear to the newcomer what is expected? Are there greeters or ushers to welcome guests? Is there anyone to give direction or assistance? Are directions clear as to the location and hour of worship? Is there any indication outside the worship space that calls attention to what one might expect in the service, such as a special observance or theme for the day?

What does this have to do with visuals in worship? I believe that all of the above are as much a visual representation of who we are as a worshiping community as what happens in the service itself. It sends a message, whether clear or blurred, positive or negative, that can strengthen or weaken the experience of worship and the proclamation of the gospel, especially for newcomers and the unchurched.

What kind of a message is sent by the leaders of worship? Is there order or chaos, or something in between? If the worship is informal, are technicians still setting up microphones as the music begins, or is everything ready? Is there an air of expectancy, anticipation that something wonderful is about to happen? As the musicians, acolytes, liturgists, preacher, and other worship leaders enter, what is conveyed by their demeanor and dress? Are robes and vestments appropriate for the occasion? Would less-formal attire be more fitting to the service? (Clothing does have a visual impact.) Do the worship leaders appear prepared, confident, expectant?

The movements and gestures of the participants and leaders in worship communicate what we believe about worship and about whom we worship. Processions, lighting of the candles, the receiving of offerings, the consecration of the elements of Holy Communion, posture in prayer, administration of baptism, standing and sitting, dismissal and recession, all these reflect our theology of worship and convey visual messages that may or may not be consistent with that theology or with the gospel. There is great beauty, grace, and power both in formal ritual and in orderly informality. We can also overritualize or so informalize our worship that it loses its vitality. How we conduct worship is visual, and it can either help or hinder the good news we gather to proclaim.

Biblical Precedents for Using Visuals in Worship
Probably the earliest use of a visual in worship that we have in Scripture is the Passover experience of the Hebrew people. The blood of the lambs on the doorposts and unleavened bread became ritualized, forever symbolizing God’s deliverance of the people out of bondage in Egypt.

Later followed the elaborate system of sacrifices and rituals that God ordained to engender discipline and obedience within a rebellious and willful people. One only has to read the detailed directions in Exodus and Leviticus to see how important the visual representations in the Tabernacle were for the relationship between God and the people of Israel. God called upon the skills of the best artisans to create the magnificent symbols of God’s presence and power: the mercy seat, the altar, candelabra, the Ark of the Covenant, the elaborate vestments of the priests, the curtain separating the Holy of Holies, and even the tent posts. Everything was to be of the finest materials, created by skilled artists, all to the glory of God. The elaborate instructions were carried over into the construction of a succession of temples and restorations of the Temple down to the construction of Herod’s Temple that was standing in Jesus’ day and was destroyed in 70 C.E. (Common Era).

There is precedent for the elaborate and for the simple use of visuals as means of instructing people about who God is and who we are in relation to God. After the destruction of the Temple and suspension of the sacrificial system, worship moved to the local synagogues and was less elaborate ritually and visually. In the early Christian era, worship was also very simple.

In his teaching, Jesus created simple yet powerful word pictures in his parables. Who can erase the image of the father racing out to embrace his wayward son, or the older brother's disapproval? Or the lost lamb enfolded in the arms of the Good Shepherd? What more powerful image is there than Jesus reaching out, gently lifting a child, and setting the child in the midst of a circle of adults to teach what it means to enter God’s kingdom? Jesus took everyday objects and ordinary people and gave them extraordinary significance.

He did the same in his actions toward people. He was himself a living object lesson as he spoke to the woman of Samaria and showed her who she was and who she could become; and in so doing, Jesus brought her to perceive who he was. Jesus’ actions revealed his identity as he went home and ate dinner with Zacchaeus; as he stood before the Sanhedrin in silence and before Pilate as Pilate washed his hands; as he hung on the cross crying out to God, pleading forgiveness for those who had nailed him there; and as he appeared to the disciples cowering in an upper room that first Easter night and showed them the nail prints in his hands and the spear wound in his side.

 Why Visuals in the Church?
As Jesus used the simple objects and images to teach in his day, so we may use the same gospel and other common things to teach and inspire an increasingly visually oriented, contemporary audience. We do so because of the material, incarnational nature of our faith. The church, as did Jesus, uses in its worship things of the earth: clay, oil, water, wine, bread. The psalmist invites us to “taste and see.” John the evangelist proclaims, “Behold, the Lamb of God.” Jesus invites us to take and eat. The Revelation of John recounts a vision of the New Jerusalem. The visual arts often speak more clearly and universally than words.

Even today we see everywhere the earliest Christian visuals: the cross and the fish. In the simplest forms, lines, and arcs, we find the earliest creeds symbolized. The cross says without words, “Christ is risen! Christ is risen, indeed!” The fish proclaims, “Jesus Christ, Son of God, Savior!" The myriad Christian symbols that developed quickly and have been used ever since are a universal language that image the doctrines and experiences of the Christian faith. They express our faith and strengthen the proclamation of the gospel.

Partnership and the Work of the Visual Artist
If the visual artists, worship leaders, and proclaimers of the Word form a partnership and work as a team, much can be accomplished to more effectively proclaim the good news and affect the lives of those who come asking, searching, and knocking at the doors of our churches.

The work of the visual artist is to preach a silent sermon, with or without words. The form of that sermon has endless possibilities. It may be in the medium of fabric: banners, paraments, tapestries and hangings, needlepoint, weaving, quilting with elaborate detail and stitching, or simply basted and glued. The medium may be photography (for example, still slides); or it may be film or video. Florists might arrange floral displays that suit the season and use plants and flowers that are native to the region, that come out of gardens, or that are mentioned in Scripture. Graphic artists might design posters, bulletin covers, or displays that tie into the Scripture readings of the day or to themes of the church year. Sculptors might produce works that stand alone or can be used in worship settings. Dance and drama are very much a part of the visual experience of worship, as are the musicians, liturgists, and preachers. The silent and the verbal proclaimers of the gospel should form a close and effective partnership in the gospel in order to strengthen that proclamation in worship.

 Resources for Visualizing Worship
A rich store of resources and opportunities for the effective use of visuals in worship exists today. (See “For Further Reading,” at the end of this article.) The richest resources areScripture (especially as presented in the Revised Common Lectionary), the themes of the church year, and the endless creativity and depth of the souls of the visual artists.

The Revised Common Lectionary
There are numerous visual images in each of the Scripture readings in the Lectionary. Some are obvious; others emerge through reflection and study. Psalm 25, a very familiar example, is rich in imagery that can be reproduced in material objects: shepherd, sheep, water, path, rod, staff, table, oil, or cup. Other images (such as green pasture, still waters, the shadow of death, or the presence of God) might be reproduced graphically or photographically on bulletin covers, slides, or video to create visual backdrops for the reading of the passage.

A display might be created in a narthex (or other area adjacent to the worship space) or in the chancel or on a platform transformed into a setting for the psalm. One or more of the objects might be used in the children’s sermon, be held in the preacher’s hand, or be placed on the pulpit during the proclamation. The psalm might also be pantomimed as it is read or interpreted in movement.

The Church Year
The seasons of the church year are a visual cornucopia. Christ is the dominant figure in all that happens throughout the seasons. The Christian calendar developed around the events of Christ's life, death, resurrection, and ascension; his teachings; his relationship within the Trinity; and the manifestation of the Holy Spirit as his continuing and empowering presence in and for the church. From Advent through Christ the King Sunday, we have countless opportunities to present Christ and all he represents through visual imagery. It is this story, in part, that the Revised Common Lectionary helps us proclaim.

The church year encourages change as well as creativity. In the majority of our sanctuaries, much of the visual artwork, stained glass windows, wall crosses, organ pipes, sometimes the pulpit and chancel furniture are fixed. They cannot be changed unless a major renovation is undertaken. Some visual art is fixed, not physically but by tradition. Many of our churches have a portrait of Christ that has hung in the same spot for who knows how long. No one dares move it. Other portraits are rarely seen in our churches.

Yet there are hundreds of portraits depicting the life of Christ from infancy to ascension. The choices include ancient, classical, and modern periods, as well as myriad cultures. This art can be pulled off the Internet and reproduced on paper, slides, or video, which can be used in many effective ways in worship and display. What an opportunity to fill and expand the minds, hearts, and spirits of our congregations!

Although many congregations have not been introduced to the riches of the church year, many are incorporating Advent wreaths, banners, and blue paraments for the Advent season. Others have begun learning about the wonderful variety of symbols related to Christ in chrismons. Many congregations observe Lent and Easter in some fashion, but often ignore Holy Week, except perhaps for Palm/Passion Sunday and a Maundy Thursday Communion service. The Palm/Passion, Maundy Thursday, and Good Friday observances are of equal importance to Easter if the full story is to be experienced and understood.

These events and special days in the church year represent incredible opportunities for visual artists to express the heart of the gospel message. Involving the worshipers in a re-enactment of the events leading up to and including the Last Supper, stripping the chancel and altar, and observing a moment of darkness before leaving in darkness leaves an indelible visual image and emotional experience. Draping the cross in black on Good Friday and then in white on Easter Sunday also adds a visual and spiritual dimension to long-observed Easter traditions that are very visual in nature.

Once Easter Sunday has passed, many churches ignore the rest of the church year. The Great Fifty Days between Easter and Pentecost celebrate the appearances of the risen Christ and his preparation of the disciples for his ascension and the in-filling and empowering work of the Holy Spirit. Simply leaving the cross draped in white can be a powerful visual. Re-creating the sounds and sights of Pentecost can lift up the central importance of the event. Try pulling out all the stops again. Acts 2 can be read as a choral or dialog reading. The sounds of the “rush of a violent wind” (Acts 2:2) can be reproduced on an organ or synthesizer. Tongues of fire can be simulated with seven processional banners in flame colors with bells or wind chimes attached and carried in as the Scripture is read. Members of the congregation who speak foreign languages can be asked to simultaneously repeat the Lord’s Prayer or other Scripture verses in those languages at the appropriate time in the story. Dancers may interpret the movement of the disciples praising God. An actor (or the preacher) could deliver Peter’s sermon with all the fervor of the first Pentecost.

Trinity Sunday and the Sundays after Pentecost can be used to teach about the doctrines and mission of the church through various symbols, photographic displays, short video presentations, bulletin art, and skits. The possibilities are endless, limited only by our reluctance to take risks and to use the creative gifts God has given to each of us. Not everyone is an artist with pen, brush, needle, or camera; but each of us is given something with which to create an expression of our faith in form or action.

The Creativity of Visual Artists
Part of the calling of visual artists as well as of pastors and educators in the church is to help people identify and use their natural talents and their spiritual gifts for the work of ministry. While clergy and the lay leadership share in this responsibility, the pastor of the congregation, for all practical purposes, sets the tone. The possibilities are endless if the pastor is open to allowing creative expression of faith through the arts; sees the value and understands the sacredness of the gifts of creativity; and, especially, is willing to discover and use his or her own gifts. To be in touch with our creativity is to be in touch with the Creator. How we use that creativity depends on the maturity of that relationship.

It is wonderful to witness what happens in the lives of individuals, small groups, and congregations when people are given the freedom to use their creativity. In my experience, those involved in projects to create something for worship have gotten in touch with the “Holy” and have grown in their self-understanding and esteem, as well as in their relationship with God and the church.

Such experiences of God and such spiritual growth might happen to and through a child whose picture is chosen to be reproduced on the bulletin cover; teenagers who are asked to interpret a song in pantomime; a man asked to help construct a butterfly; a woman asked to construct a banner, frontal, paraments, or stole; people asked to needlepoint on kneelers; a graphic artist asked to design a logo; or a photographer asked to interpret a passage of Scripture in images. In being asked, the gift and the person are affirmed as sacred, important, needed, and wanted. We often lose some of our most creative people from the church because they and their gifts are ignored or unwanted.

Conclusion
“In the beginning when God created...” (Genesis 1:1). God is, and always will be, creating. Creativity is a divine principle and a part of the character of God inherent in the divine image in which God has created each of us a human being. God continues to create through us.

It is our sacred privilege and responsibility to put into form what God has placed in our hearts and minds and spirits to glorify God. That is the work of the visual artist in worship.

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This story was originally published on the GBOD website in April 2014.