“Babel and The Babe”

This is the title of a small study that sums up my Global City Babel Series about the antithetical war between the words of men (Babel) and the Word of God (The Babe of Bethlehem). I mentioned following up on this painting in a previous post called Word/Image.


Babel and the Babe   7″ x 7″ graphite, watercolor, text on paper

This painting and the one following are featured on the covers of Issue 8.1 and 8.2 of  Relief Journal. Babel and The Babe is on the Spring cover. (It was incorrectly titled Babel Baby, suggesting instead a human baby or our human condition, not the intended “Incarnate Word of God made flesh,” the baby born in Bethlehem.)

The City of God / The City of Man, 36 x 36 inches mixed media on canvas will be featured on the Fall issue. (It is still available on my website The City of God/ The City of Man

Global City Babel City of God City of Man

This encaustic mixed media painting, divided into two parts, is also about the antithetical war between Babel and The Babe. The bottom half includes black and white photographs I took in New York City and images of the 1999 war in Kosovo in the Balkans. The top half includes church architectural drawings, Arabic text — the Word became flesh — which is descending on the tower, biblical texts and the large text — I AM. It is covered with golden beeswax.

The City of God / The City of Man
takes its title from Saint Augustine’s book De Civitates Dei, in which he presents human history as being “a conflict between the Earthly City (The City of Man) and the City of God, a conflict that will end in victory for the latter. The City of God is marked by people who realize the transience of the earthly city with its concern for power and pleasures. They dedicate themselves to the eternal truths of God revealed in the Word of God. The Earthly City consists of people who celebrate the pleasures and cares of the present world and who believe the ever-changing words that promote power, peace  and comfort on earth.

The basic thesis of Augustine’s book is the history of the world as the universal warfare between these two cities and between God and Satan — the theme of my Global City Babel Series. This biblical warfare began when man sinned. God told Satan in the Garden of Eden, “I will put enmity between you and the woman and between your offspring and her offspring; he shall bruise your head and you shall bruise his heel” (Genesis 3:15). This conflict is also summarized in the final prophetic drama of the book of Revelation (The Unveiling).

IMG_4458The painting that began this series was purchased by collector Dona Spaan for the Permanent Collection at  Calvin College in Grand Rapids, Michigan, a collection that includes  artwork by Gerhard Richter and contemporary Dutch photographer Henrik Kerstens (1965).


Foundation/Global City Babel

Global City Babel FOUNDATION for Radix Mag

The Tower of Babel  (right) by Pieter Bruegel (1563) is my central motif. It references the biblical tower (Genesis 11) where God intervened to confound man’s words and his desire “to reach  the heavens” and “make a name for himself.” This Dutch artist had a biblical view of reality. His visit to Rome inspired this Babel tower styled after the Roman Coliseum. And Christians of his day equated Rome with the Biblical, Babylon the Harlot, the antithesis of the Bride of Christ. Babylon is the seducer of man’s heart. Babel and Babylon symbolize all that is opposed to God’s Word and his glory.

The hand-made frame of this painting includes the all-seeing eye of God at top center and small pilgrims in the wood on either side. The incised text is the stylized acronym for the Tanakh or the Hebrew Scriptures.

vertical detail Power IssueMy “Babel Series describes our postmodern culture where meaning and words are confused and manipulated for power. Breugel’s Tower is an apt symbol 500 years later as this cosmic battle between the seed of the woman and the seed of the serpent continues to unfold until The Word of God, who is Faithful and True, returns to claim his kingdom already won by his sacrificial death.

Babel’s Child I  (below) is bowed with a Babel tower on his back. A snake skin, a symbol of The Fall, is embedded in the beeswax at his feet and the sacrificial death of Christ is alluded to by the snake on the pole.

Babel's Child I for Seeds LA

In  Purified Lips God’s Word descends from the sky. The title is taken from Zephaniah 3:9 — For at that time I will change the speech of the peoples to a pure speech, and all of them may call on the name of the LORD and serve him shoulder to shoulder. The Tower of Babel is situated on deconstructionist texts and city plans, while the text from the sky in the French language is from John 1:1 — In the beginning was the WORD and the Word was with God and the Word was God.

Purified Lips unframed P


Babel Grace Reactor

Shoulder to Shoulder 12 x 12 inches                      Babel Grace   24 x 24  (Hebrews 12:18ff)
The two paintings above were also inspired by this text from Zephaniah 3:9.

In Babel Overturned the Tower of Babel is upside-down in a turning sea. The cross, the means of Satan’s conquest, is referenced by the incised grid of red lines (the Nets of God).

c. Babel Down
Babel Overturned   2006 encaustic on panel  24″ x 24″

The Babe of Bethlehem pronounced Satan’s mortal wound and defeat as he approached the cross. He said, Now shall the prince of this world be cast out (John 12:31)And in his last discourse Jesus proclaims as if it were already an accomplished fact, The prince of this world has been judged (John 16:11). In the painting below you can see the plumb line and the tent or tabernacle over the Tower of Babel. This suggests judgment, when all shall be justifiedmade straight by the God who “pitched his tent” or tabernacled with us (John 1:20) (There is a reproduction of this painting on the “teaching wall” at Park Avenue Synagogue in New York.)

c. Global City Series He Tabernacled Among UsTabernacle  (2005)   24 x 34  (New Canaan, CT collection)

Global City Babel text encaustic S        A Day of Clouds  S 12 x 12 inches
A City that Cannot Be Shaken 12 x 12 inches       “State Protection” . . . 12 x 12

As this battle between Babel and the Babe wages, we wait. Until Christ has taken captive all His captives, we are “strangers and aliens on earth,” captives in a foreign land. As C.S. Lewis writes, “We are on the outside of the world, the wrong side of he door. . . . But all the leaves of the New Testament are rustling with the rumour that it will not always be so. Someday, God willing, we shall get in (The Weight of Glory).

Finally, two recent paintings on “Ikea photographs” of cities — New York’s Brooklyn Bridge turned upside-down, the city is burning, which references Revelation 17  about the doom of Babylon, the Great Prostitute (aka the Harlot) — all that is opposed to the Bride of Christ. They (those who follow the Beast) will make her (Babylon the Harlot) desolate and naked and devour her flesh and burn her with fire . . . and the woman that you saw is the great city. (Notice in the text, who it is that will burn the city.)

Global City Babel  New York I
New York City – Brooklyn Bridge /Global City Babel  54″ x 32″ oil and wax on archival Ikea photograph.

In this painting, a horizontal photograph of London is painted vertically in whites. The purified bride is a vessel whose unrighteous deeds are covered by the God who came to take the judgment for sin and wrath of God on himself. This  Vessel makes sins of scarlet “as white as snow.”

Vessel Series  London Yo 38 x 5u are the VesselLondon /Global City Babel  32″ x 54″ oil and wax on B&W Ikea photograph with red bus

New work in this series can be found at Global City Babel Series
Heaven and earth will pass away but my words will not pass away
(Matthew 24:35), Josh Garrels  sings in  Words Remain.

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