Visual Exegesis: Rob Pepper's "Crucifixion"

In this piece of art by Rob Pepper entitled “Crucifixion,” there are several elements that immediately stand out. For one, the piece appears to be a drawing done by black ink, and then colored in with gold paint at selective places. The strokes are very sketchy in nature, and not many lines connect. Due to the nature of the medium, negative space is apparent in almost every portion of the piece. There are many repeated similar strokes, and certain lines seem to be slightly thicker than others. Movement is suggested by the flowing and lengthy nature of some of the lines, and the repeated short strokes imply stillness by their abruptness. The top and middle center of the piece immediately draws your attention, as many of the lines move outward from or inward towards this section. The negative space at the top portion of the piece is blocked off by two parallel arching lines that delimit all eye movement to everything below it. Concentric semicircles facing upward at the top center of the piece imply movement downwards toward the middle center. The piece itself feels very symmetrical and balanced; there is not much pull away from the middle-top center.

The general scene is fairly obvious at first glance (to those familiar with the Christian tradition). The man portrayed at the center of the piece has a beard, what appears to be a crown of thorns, a loincloth, and is very clearly elevated above the observers portrayed on either side, below him. The symbol that centers the piece is a cross-shape behind this elevated man. A clearly delineated cross is not present, but implied by the shape of the elevated man, and two clear lines above at eye level from the man, moving vertically outward to either side from his head. The observers below – four of which are distinct – seem to be downcast, implying grief or shame. The observers are not clearly defined, and leave room for interpreting more observers in the short, abrupt and unclear strokes surrounding them. These elements clearly establish that this is a crucifixion scene.

Several elements that are atypical of depictions of crucifixion, and which seem somewhat out of place, are noteworthy. First, the two arching parallel lines don’t seem to connect with the ground, and therefore don’t appear to be a physical structure in the scene. The left side of this arch has four sketchy block shapes that follow the movement of the arch from bottom left to top middle and do not wildly deviate from their path. The right side of the arch has five sketchy block shapes that seem to be progressively out of the alignment of the arch. In the middle of the arch, the concentric semicircles point downward to the head of the crucified man. Finally, the most eye-catching element of this piece is the golden leaf structure that surrounds the crucified man on both his left and his right. The leaves seem to moving outward from the crucified man, as implied by the strong and smooth strokes that seem to be the branches upon which the leaves are growing. The contrast of the gold on the black and white clearly establishes the importance of these leaves, and consistently draws the viewer’s eyes outward from the crucified man.

At this point, it can be assumed – both from the analysis thus far and the title of the piece – that the crucified man is Jesus of Nazareth, and the scene is the death of Jesus as portrayed in all four gospels. The piece focuses only on Jesus (there are no rebels being crucified on either side), the observers are in mourning, and more importantly, the vine/tree with its golden leaves has sprung forth. The artist has used this primary element to establish what the artist believes was accomplished, or begun, on the cross by Jesus. It is clear that this bright, glowing plant receives its beginning and nourishment from the man on the cross. It is also evident that this plant is moving outward and growing; it is growing downwards as well, as it is beginning to reach the heads of the mourning observers. It should be noted here that the four distinct observers do not seem to be aware of the movement of life that has sprung out of the crucified man.

Another interesting key to this piece is the arch across the top. It does not seem to be arbitrary; indeed, it echoes the prophecies about capstones and rejected stones. Jesus on the cross becomes the capstone that the builders rejected. This element is implied by the unfinished nature of the arch, as well as the placement of Jesus in the middle of the arch. Furthermore, the concentric semicircles also seem to be pointing down at Jesus, and the semicircles are in the spot where the capstone would go. The arch is also in the heavens, implying an eternal nature. The semicircles also seem to symbolize God’s movement from heaven to act in Jesus Christ.

Taking these two elements together, the leaves and the arch, the viewer can come to the conclusion that the artist believes Jesus’ death on the cross to have accomplished something that is eternally important and life giving. The concept of Jesus as the capstone contains the understanding that Jesus’ life and death was essential to the architecture of creation. The concept of Jesus’ death as a life-giving moment means that Jesus began a New Creation through his death and resurrection. This New Creation, as the painting implies, begins on the cross, but grows outward and downward to creation, and to all of us.

Overall, this piece does an excellent job of capturing two beautiful and powerful meanings in the crucified God. Rob Pepper, the artist, stunningly captured one of the most essential elements of our Lord’s death: the breaking in of a New Creation. He did so by using the very images that Jesus uses in his parables and are found in prophecies throughout the Hebrew Bible: the vine, the capstone, and the tree of life, among others.

If any criticism presents itself, it is the criticism that is inherent to any artist attempting to point at religious depths; there are infinitely more meanings to the cross of Christ than are portrayed in this piece. The darkness and bitterness of the death of Jesus is delimited in order to highlight his saving work. Part of the power of the cross is the suffering Savior. Furthermore, only two persons of the trinity are present in the piece. The implied breaking in of God and the incarnate Son are easily found, but the Spirit is not hinted at in this work.

The medium of the art, the artist’s intention, and the subject matter itself all combine to form a striking and moving rendition of one of the most important moments in human history.