In this third installment of the Subversive Saints series, our artists were invited to select a local figure, past or present, whom they believe
embodies how God calls us to live (whether or not the figures themselves are people of faith). Like all of the Subversive Saints exhibits, these saints challenge both the traditional/religious and colloquial/secular definition of what it means to be a saint and who qualifies as a saint. These people did not lead perfect lives (and some are still living and will likely still make mistakes in the future!), and they are each leaders and prophets who have courageously participated in what our Jewish siblings call God’s call to tikkun olam–repair the world.

As human-beings, we have a tendency to put our prophets, saints, and heroes up on pedestals. This is normal and even important–we want to make them visible as examples for all. But that elevating of individuals often also has the impact of divorcing individuals from their context, hiding or de-emphasizing the broader communities and relationships that made this exceptional individual who they are, helped them to succeed, and were inspired to carry the work forward. For this third edition of the saints, we’ve asked artists to subvert this cultural tendency by portraying their saints in a way that also emphasizes the communities that formed, supported, inspired, and were inspired by their saint. The depiction of the broader context of our Subversive Saints reminds us that, while these individuals are exceptional, we too are called and capable of being a part of God’s change-making communities.
Another aspect of being a part of change-making communities is remembering that no single community can or should stand alone. For this exhibition, four congregations and one new worshiping community joined together: Woodland Park Presbyterian Church, Northminster Presbyterian Church, Saint John United Lutheran Church, Newport Presbyterian Church, and the Coastland Commons new worshiping community. More than twenty saints were completed for this exhibition. They are exhibited in two collections so they can be accessed in more than one of the participating communities at once.
Collection A:
Collection B: