Dipping my fingers into the holy water font, I immediately notice large, wide-eyed figures swirling around me in bright luminescence. I freeze, trying to stabilize myself. Eerily reminiscent of childhood bouts with hypoglycemia, my surroundings are distorted as if I were in a circus. The features of the people around me seem exaggerated and the ground unstable beneath my feet. As I cross myself, my thoughts race, “This is a Rupnik chapel. I didn’t realize this would be a Rupnik chapel. I wasn’t prepared for this.”
I struggled a lot with questions surrounding Rupnik (and David Hass) and what should be done with their work. I'm against cancel culture and destroying history in general, and I couldn't figure out if their art should be considered part of the historical record in that way or not.
Thank you for specifically addressing that argument. The point that the art included abuse as inherant in its creation (also true of Hass...good grief) and is therefore sacrilegious in a liturgical context is a good one, and definitely re-frames the conversation.
Thank you for sharing Emily! I am grateful to hear that you were struggling with similar things as I have been. There is certainly a lot to struggle with in these situations. I am just so grateful to the women who courageously shared their stories of abuse by Rupnik. Listening to each of them has been key in sensitizing me to deeper reflection and clarity regarding my experience of and thoughts on his art and abuse of power.
I’ve never understood the argument that his work is separate from his evil acts when the work is integral to his abuse and, most especially, the other way around—his abuse is integral to his art.
Moreover, his perverse theology is, which blesses both! The inspiration coming from there is exactly it—art is not just decoration, it communicates. And his work is communicating both heresy and harm.
Thank you for this article. I believe I attended a place where his work covered the walls and a chapel of a popular Saint. It certainly was unsettling. May those who make the decision prayerfully discern the steps to remove his work. Also sorry for any abuse you endured may God continue to heal you fully. 🙏🏼❤️
Vulnerable and difficult to read as it should be. I'm reminded that the evil one profanes the most beautiful and that it is precisely in this sort of betrayal that the deepest parts of a soul's heart can be wounded so deeply. The greatest glory now prodding a deep and painful gash.
You are on point that his art was not a separate part of his sin. It is deeply engraved into it- literally. Echoing Corynne's thoughts... what would art that's restorative look like? Thinking here of the most vivid images of the Sacred Heart that show the burning, the piercing, the exposed agony our Lord was in. All of it. Perhaps art that echos the pain of betrayal is art that is far from sanitized.
I can hear the pain in your voice or maybe my own too as I read it.
I love so much how God is forming The Sisters of the Little Way’s mission through the gifts he’s given you and Sr. Theresa. What an excellent, hard hitting article!
“In this spirit, I would suggest that any institution that must make decisions around Rupnik mosaics should commit to dismantling them. Artists could use the tiles to create new mosaic installations dedicated to survivors. These mosaics could be housed in a chapel dedicated to survivors of abuse. Communicating from the authoritative voice of the Church, a chapel dedicated to victims would say, ‘We see you, we are sorry that we failed to protect you, bearers of God’s beauty in your vulnerability. And we are listening. You are the Church.’”
Beautiful. This is such a strong case for why his work should be taken down. And instead of having his art, which reflects a sickly vision of Christianity (in its inspiration and form, as you have shown us!) on display, we could have art that honors the dignity and personhood of survivors. Thank you so much for sharing this experience, and for sharing your artistic and theological insights with us too, Sister Danielle. ♥️
I’m imaging what art like this (that honors those harmed by the church) could look like. And I’m thinking of your own artwork, and the way you draw dynamic illustrations against dark backdrops, and explore the context of light within darkness. What artists inspire you? Are there artists you know of who are doing this kind of work of honoring survivors?
Thank you, Corynne for your thoughtful words and question! It’s a good question. I draw inspiration from so many creatives and I don’t personally know of artists creating work with people harmed by the Church in mind explicitly, but I know they are out there. I will give it a deeper think and get back to you. But off of the top of my head I would say that this is a moment for artists and creatives to ask that question. What does my creativity have to contribute to helping people recognize vulnerability? I think this is the cusp we are on— a discovery of beauty that holds in tension safety and danger, destruction and renewal, and that which does not slip into rhetoric or ideological expression, but remains deeply personal while hitting on something universal.
Oh my, his art as sacrilegious, yes! This is a strong argument in conjunction to its effects upon his victims and those within the church, period. I will add, his art is ANTI-LIFE!
Before I learned about his abuse I visited the Sanctuary in DC for St Pope Jean Paul II. Loving the art and as a victim of sexual abuse, I was deeply disturbed when I found out. I reflect now that certainly this Saint who loved the dignity of all God's children, who taught us the holiness of our very being, body and soul, would not want this to stand. And at Lourdes? No... no. Purity and self-knowledge... this is what Our Blessed Mother offers us.
Repent and tear it down! And perhaps God will raise it up anew on the Third Day.
I will be thinking about this for a while. Does this also apply to works of music, also created by sexual predator s(thinking of some of the more modern worship music), which did not involve direct participation by the abused. I am not trying to split hairs here. I actually lean to a more severe restriction where abuse and predatory action have taken place by a spiritual leader of any sort. 2 Corinthians states " What fellowship does darkness have with light?"
The mosaics clearly should not be in sacred spaces, and by their nature I don't know how you would remove them without destroying them. So I don't think this would be a matter of canceling, of bringing down a statue, that sort of thing. It's just having better things to do with Church resources than trying to reconstruct the mosaics somehow somewhere else.
In the end, though, it seems that the opinion of the women who were assaulted and who participated in creating the mosaics should be solicited.
Thank you for your interesting and personal response to the 'art' of Fr. Rupnik. I think, however, that the premise is flawed. There is nothing artistically masterful in Fr. Rupnik's work. Your immediate response to the work was absolutely correct. Your emotinal response was not in conflict with reality; on the contrary, it was a doorway to the truth. No need to try to excuse bad and inferior sacred art. Please read the article I wrote on the work of Fr. Rupnik: For the Want of a Nail the Kingdom was Lost.
I did not know about Rupnik’s abuse when I first saw his art. I thought this is ugly and demonic looking. The figures have dead looking eyes. Reminded me of the line in the film Jaws when Quint describes the eyes of a shark, “dolls eyes.”
When I read about his evil acts and the efforts to protect and reinstate him I was disgusted. Sadly this is the pattern of protecting “friends” that has resulted in the McCarricks of the world roaming free for decades.
It is not a Caravaggio. Tear it all out. I am sad and sickened to read of your being abused at the hands of a priest.
Could not agree more. Comparing his art to Caravaggio's shows how low the Church standards for art and beauty have fallen. Not only we would not be loosing any good art, the fact that he contaminated his work with this horrible spiritual and sexual abuse should be enough to get rid of it.
I struggled a lot with questions surrounding Rupnik (and David Hass) and what should be done with their work. I'm against cancel culture and destroying history in general, and I couldn't figure out if their art should be considered part of the historical record in that way or not.
Thank you for specifically addressing that argument. The point that the art included abuse as inherant in its creation (also true of Hass...good grief) and is therefore sacrilegious in a liturgical context is a good one, and definitely re-frames the conversation.
Thank you for sharing Emily! I am grateful to hear that you were struggling with similar things as I have been. There is certainly a lot to struggle with in these situations. I am just so grateful to the women who courageously shared their stories of abuse by Rupnik. Listening to each of them has been key in sensitizing me to deeper reflection and clarity regarding my experience of and thoughts on his art and abuse of power.
I’ve never understood the argument that his work is separate from his evil acts when the work is integral to his abuse and, most especially, the other way around—his abuse is integral to his art.
Moreover, his perverse theology is, which blesses both! The inspiration coming from there is exactly it—art is not just decoration, it communicates. And his work is communicating both heresy and harm.
If I know Rupnik's or Centro Aletti's artwork stands uncovered somewhere I will not go there until the situation is rectified.
God bless you Sue.
I can't imagine what you sisters felt walking in that chapel. I would want to claw those tiles out with my bare hands!
But this article was amazing! And you offered a fantastic solution! My prayers are with you both, and our Mother Church.
Thanks you so much for your prayers.
Thank you for this article. I believe I attended a place where his work covered the walls and a chapel of a popular Saint. It certainly was unsettling. May those who make the decision prayerfully discern the steps to remove his work. Also sorry for any abuse you endured may God continue to heal you fully. 🙏🏼❤️
Thank you so much Nancy. Amen.
Vulnerable and difficult to read as it should be. I'm reminded that the evil one profanes the most beautiful and that it is precisely in this sort of betrayal that the deepest parts of a soul's heart can be wounded so deeply. The greatest glory now prodding a deep and painful gash.
You are on point that his art was not a separate part of his sin. It is deeply engraved into it- literally. Echoing Corynne's thoughts... what would art that's restorative look like? Thinking here of the most vivid images of the Sacred Heart that show the burning, the piercing, the exposed agony our Lord was in. All of it. Perhaps art that echos the pain of betrayal is art that is far from sanitized.
I can hear the pain in your voice or maybe my own too as I read it.
Thank you Sister.
“Non hat would art that’s restorative look like?” I think this is an art show that needs to happen. Thank you for your reflection Mari.
I love so much how God is forming The Sisters of the Little Way’s mission through the gifts he’s given you and Sr. Theresa. What an excellent, hard hitting article!
Thank you so much Jane. Amen.
That was well put and such a strong case for taking down his work especially in churches but everywhere else too!
Thanks Caty.🙏❤️
“In this spirit, I would suggest that any institution that must make decisions around Rupnik mosaics should commit to dismantling them. Artists could use the tiles to create new mosaic installations dedicated to survivors. These mosaics could be housed in a chapel dedicated to survivors of abuse. Communicating from the authoritative voice of the Church, a chapel dedicated to victims would say, ‘We see you, we are sorry that we failed to protect you, bearers of God’s beauty in your vulnerability. And we are listening. You are the Church.’”
Beautiful. This is such a strong case for why his work should be taken down. And instead of having his art, which reflects a sickly vision of Christianity (in its inspiration and form, as you have shown us!) on display, we could have art that honors the dignity and personhood of survivors. Thank you so much for sharing this experience, and for sharing your artistic and theological insights with us too, Sister Danielle. ♥️
I’m imaging what art like this (that honors those harmed by the church) could look like. And I’m thinking of your own artwork, and the way you draw dynamic illustrations against dark backdrops, and explore the context of light within darkness. What artists inspire you? Are there artists you know of who are doing this kind of work of honoring survivors?
Thank you, Corynne for your thoughtful words and question! It’s a good question. I draw inspiration from so many creatives and I don’t personally know of artists creating work with people harmed by the Church in mind explicitly, but I know they are out there. I will give it a deeper think and get back to you. But off of the top of my head I would say that this is a moment for artists and creatives to ask that question. What does my creativity have to contribute to helping people recognize vulnerability? I think this is the cusp we are on— a discovery of beauty that holds in tension safety and danger, destruction and renewal, and that which does not slip into rhetoric or ideological expression, but remains deeply personal while hitting on something universal.
I love you so much and pray for you often. I’m so blessed to have you in my life.
Thank you, Lynda. We are so grateful for you also. Thank you for your prayers. You and the family are in ours ❤️🙏 Love you!
Oh my, his art as sacrilegious, yes! This is a strong argument in conjunction to its effects upon his victims and those within the church, period. I will add, his art is ANTI-LIFE!
Before I learned about his abuse I visited the Sanctuary in DC for St Pope Jean Paul II. Loving the art and as a victim of sexual abuse, I was deeply disturbed when I found out. I reflect now that certainly this Saint who loved the dignity of all God's children, who taught us the holiness of our very being, body and soul, would not want this to stand. And at Lourdes? No... no. Purity and self-knowledge... this is what Our Blessed Mother offers us.
Repent and tear it down! And perhaps God will raise it up anew on the Third Day.
I will be thinking about this for a while. Does this also apply to works of music, also created by sexual predator s(thinking of some of the more modern worship music), which did not involve direct participation by the abused. I am not trying to split hairs here. I actually lean to a more severe restriction where abuse and predatory action have taken place by a spiritual leader of any sort. 2 Corinthians states " What fellowship does darkness have with light?"
What a powerful piece. Thank you so much for posting it.
The mosaics clearly should not be in sacred spaces, and by their nature I don't know how you would remove them without destroying them. So I don't think this would be a matter of canceling, of bringing down a statue, that sort of thing. It's just having better things to do with Church resources than trying to reconstruct the mosaics somehow somewhere else.
In the end, though, it seems that the opinion of the women who were assaulted and who participated in creating the mosaics should be solicited.
Thank you for your interesting and personal response to the 'art' of Fr. Rupnik. I think, however, that the premise is flawed. There is nothing artistically masterful in Fr. Rupnik's work. Your immediate response to the work was absolutely correct. Your emotinal response was not in conflict with reality; on the contrary, it was a doorway to the truth. No need to try to excuse bad and inferior sacred art. Please read the article I wrote on the work of Fr. Rupnik: For the Want of a Nail the Kingdom was Lost.
I did not know about Rupnik’s abuse when I first saw his art. I thought this is ugly and demonic looking. The figures have dead looking eyes. Reminded me of the line in the film Jaws when Quint describes the eyes of a shark, “dolls eyes.”
When I read about his evil acts and the efforts to protect and reinstate him I was disgusted. Sadly this is the pattern of protecting “friends” that has resulted in the McCarricks of the world roaming free for decades.
It is not a Caravaggio. Tear it all out. I am sad and sickened to read of your being abused at the hands of a priest.
Could not agree more. Comparing his art to Caravaggio's shows how low the Church standards for art and beauty have fallen. Not only we would not be loosing any good art, the fact that he contaminated his work with this horrible spiritual and sexual abuse should be enough to get rid of it.