Images + Art
Wherever possible on this site we have tried to use photos, images and art produced by our staff, friends and favorite artists (including those who have served as artist-in-residence at our Bartimaeus Institutes). We have endeavored to attribute all images correctly; please let us know if you find mistakes or omissions. Some images are reproduced on this page for your viewing pleasure!
Photos from the Ventura River Watershed by Chris Wight
As well as serving as administrative and communications guru in the BCM office, Chris is an avid amateur photographer. Here he’s gathered a range of images from around the Ventura River Watershed and nearby Los Padres National Forest that show both dry and wet seasons, summer and winter in this arid coastal chaparral environment (scroll left or right to see them all).
Bartimaeus Billabong
by Safina Stewart
Safina joined us at the 2019 BKI, and created this piece at right for the gathering. She has been involved in community, corporate and private art projects in Melbourne, Australia since 2007. Drawing from her Aboriginal (Wuthathi Country in far North Queensland), Torres Strait (Mabuiag Island) and Scottish heritage, Safina creates stunning and meaningful work that is beautiful and widely appealing. Learn more at www.artbysafina.com.au.
Murals by Dimitri Kadiev
Traveling Catholic Worker muralist Dimitri Kadiev has produced three murals for BCM during different Institutes. Many volunteers aided this work under his direction.
Dimitri’s first mural for us (above) is at Casa Anna Schulz, narrating Elaine’s Mennonite family history in Ukraine/Russia (2012; learn more about it here).
Left is a triptych based on Ched’s imagining of Jesus being baptized in the Ventura River Watershed in the mid-19th century, painted during the 2019 BKI. In 2015 Dimitri painted the “Between Seminary, Sanctuary, Street and Soil” panel for our Festival of Radical Discipleship (below).
Wowasake kin slolyapo wowahwala he e
“Know the power that is peace”
Diptych icon of Black Elk, Rev. Robert Two Bulls
Bob, a longtime friend, collaborator and artist, graciously allowed us to use some of his artwork for the 2019 Bartimaeus Kinsler Institute. The piece at left, Wowasake kin slolyapo wowahwala he e, was painted during Bob’s 2019 sabbatical.
Sarah Fuller: BKI2023 Artist in Residence
Our Artist in Residence was Sarah Fuller, from Canada currently living in Los Angeles. She works mostly in the medium of linocut printmaking, and is inspired by religious icons, botanical prints, folk art, liturgical art and illustrations produced for Catholic Worker newspapers. She strives to make work that unites spirituality, social responsibility, justice, joy and a respect for the natural world, and to foster community through art making (right, from the L.A. Catholic Worker).
BKI 2022 logo by Kelsey McKenzie
www.thecreativekel.com
From the Artist:
“The sacred tree of life symbolizes both the preciousness of our planet Earth, and how
holy spaces are found everywhere. We are a community of winding branches and roots, the family of God gathered together in gratitude.”
Art by Ted Lyddon Hatten – www.tedlyddonhatten.com
Above is the original cover art for Healing Affluenza and Resisting Plutocracy: Luke’s Jesus and Sabbath Economics, an original work by Ted Lyddon Hatten, created specifically for the book.
Below are several works created by Ted at Casa Anna Schulz or for/at past Bartimaeus Institutes.
Myrrh at Casa Anna Schulz
Myrrh at Casa Anna Schulz
Myrrh at Casa Anna Schulz
at BKI2015 Festival of Radical Discipleship
at BKI2015 Festival of Radical Discipleship
at BKI2015 Festival of Radical Discipleship
at BKI2015 Festival of Radical Discipleship
“Spiraling in Beauty and Brokenness”, for BKI2023
BCM Logos by Sarah Holst
Minnesota-based artist and former Abundant Table Farm intern Holst describes the image at right:
“The figure at the base of the tree symbolizes Bartimaeus. I was thinking of the many ways we ‘see’: with our eyes, hands, minds, and moral imaginations. He’s in a posture of humility and wonder as his new sight reveals an oak tree. On the left side of the canopy are the harsh realities of this world, the crumbling structures of a ‘filthy, rotten system’ (Dorothy Day). On the right the vision of God appears, born in community. Figures look to the left side of the image at the truth of the suffering world while actively engaging in building something new on the right side, where water flows through the branches and native plants and creaturely behavior flourish and a woman sings sacred story. The church stands in the middle, caught between empire and Kindom. A great-horned owl, master of seeing in the dark, watches over the whole picture.
“I tried to get symbols of seminary, sanctuary, streets and soil in there as well. Seminary could be the buildings on the left or the woman singing with the aid of the book on the right, or it could be a different kind of learning indicated by the little girl playing in the garden (watched over by her elder in the larger version). For sanctuary, we have the church and community. The middle branches on the smaller version double as streets. The life abundant on the right and the composting images on the left are our soil.”
Above right: this image was commissioned as our most recent BCM logo. Below right: is a detail that we use as our BKI and Bartimaeus Institute Online logos.
Charlotte Myers
Ched’s mother Charlotte was an accomplished artist and her works grace the covers of some of our books such as Say to this Mountain and Watershed Discipleship (as well as adorning many of the walls at Casa Anna Schulz).
Robert Valiente-Neighbours
artbyrvn.com
Robert Valiente Neighbours was the BKI2016 artist in residence and he undertook an internship art research project with BCM, in the Ventura River Watershed. His research looked into the history of the Santa Gertrudis Asistencia and produced portraits of local Chumash descendants Mike Pulido Sr. and Carol Pulido, who provided in-depth information for the research project. You can read more about the Asistencia here and here.
Stemming from his research Robert produced a series of prints of the braided Ventura river, which flows by the Asistencia site. His work “Braided River” now graces the cover of Healing Haunted Histories: A Settler Discipleship of Decolonization.
