Revelation

What IS this walking figure from
Shavano Valley? Mixed media
painting by Phillip Hoyle

Some biblical and artistic revelations combined for me in a most important way, one that helped me realize the ultimate revelation of God’s love. I begin with the image of a boy drawing illustrations of the visionary creatures in the Bible. These word monsters had origins in the apocalyptic literature of the Hebrew prophets, especially Daniel and several others whose writings were deemed aprocryphal or became part of the extra-biblical collection known as the Pseudoapigrapha. Jesus as a prophet was credited with some such images related to the destruction of Jerusalem, and due to a fourth century decision, the New Testament ends with the memorable book, The Revelation to John. 

We didn’t hear much about these writings in our church until Stan Lecher preached a meeting one spring. He specialized in prophetic speculation in order to raise a crowd. The magical world of knowing the future held great appeal and Lecher knew how to use it. Although in my childhood I was too scared to be interested in monster movies, I did find these images in the Bible quite intriguing, not so much for their meanings about the future but simply for their inclusion in the sacred book. For me, the phenomenon seemed much the same as when I later discovered the Goodspeed translation of the Bible that used such clear words as ‘rape’ or the erotic images in the Song of Solomon, or the image of God’s love for Israel compared with the hopeless commitment of the prophet Hosea for his prostituting wife. I was fascinated by the unacceptable being found within the content of the holy. I still am.

So when sermons got boring I paged through the Revelation and entertained myself by drawing these wild monsters: for instance, in Revelation 12 a great red dragon with seven heads and ten horns and ten crowns on his heads and a tail that swept down a third of the stars of heaven and threw them on the earth and whom Michael and his angels fought; or in Revelation 13 a creature that looked like a leopard with feet like a bear’s and a mouth like a lion’s and with horns and ten crowns arising from the sea; or in the same chapter another beast that rose out of the earth and featured two horns like a lamb and a voice of a dragon. I knew nothing of metaphor and symbol for I was a child as literal as he could be. I didn’t know what else to do with these visions except to draw them.

Mom was interested in my drawings, at least enough to put them in her purse. I don’t know what became of those scratchings, but I do remember not knowing how to distribute horns and crowns among the various heads of the angry monsters. Such is the life of even the most literal of illustrators. Too many decisions, too much specificity, and the revelations became a problem of literality and meaning. But my memory of the experience is one of artistic decision making not unlike what I face now when I am making paintings of centuries-old visions of the Ute artists in Shavano Valley in western Colorado or of Cherokee interpretations at Judaculla Rock on the Tennessee River in western North Carolina. I was making such artistic decisions as a youngster. All those years ago I was an artist and, of course, a frustrated one just like my son Michael years later when in disgust he threw away some of this drawings because he couldn’t get them perfect. I told him then what I wish someone had told the young me, that the art arises from incorporating your mistakes, trusting that they may be as important to your work as what you deem ideal. And to imagine that I was thinking somewhat that way even as a youngster trying to fathom the images and truths of the wildest symbols in the Bible.

The art is in the process. For me, the art of living religiously grew to mean being able to incorporate the common with the holy not to accommodate the sins of my own life within a vision of the perfect God but rather because the authoritative book of my religious upbringing declares that the murdering King David was in fact a man after God’s own heart. My deeply artistic and deeply gay heart knew life must recognize the good in all, in me. What a revelation!

As I mentioned before, I still feel that way.

Denver, 2014

This assortment of figures from Judaculla Rock was both
challenging and rewarding, but someone will surely wonder
what it means. Mixed media painting by Phillip Hoyle