Who is one's audience, the spiritually hostile professional art world or one's visually insensitive Christian neighbour?

It would be a serious oversight to limit our understanding of the impact of theology to strictly religious art, and overlook its pervasive role in shaping human understanding and artistic expression thereof within any given culture-regardless of the subject matter at hand.

Beauty, therefore, for the modern and postmodern artist has become a highly dubious metaphor for a discredited belief system.

As far as stimulus from the visual arts specifically, there is today in most of us a visual appetite that is hungry, that is acutely undernourished. One might go so far as to say that Protestants in particular suffer from a form of visual anorexia. It is not that there is a lack of visual stimuli, but rather a lack of wholesomeness of form and content amidst the all-pervasive sensory overload.

Beyond a narrow, elite audience, there is a pervasive sense from the side of the public that much contemporary art fails to connect - a failure not evident throughout centuries of earlier art.

Redemption in Christ should give the artistically gifted not only a new orientation and a new sense of purpose, but also a new vision of reality, seeing the world through the eyes of faith, looking at the human condition through the eyes of Christ.

In this same tradition, beauty is inextricably bound up with the principles of order and harmony believed to underlie the cosmos. Artists in the Classical tradition, inspired by Platonic idealism, strove to create images that represented not the world of particulars-with all its defects-but an ideal image conceived in the mind, which was taken as representing some absolute, pure, ideal form of which all particular, material forms are but a mere shadow.