Formation Matters takes its name from a simple, but evocative play on words. If taken literally, the phrase suggests the relevant topics or concerns relating to formation. Rhetorically however, the phrase implies the overall importance of formation. In a third turn of the phrase, it also hints at the substance or physicality of the artists’ creations through which viewers engage the initial two turns of the phrase.*
This plurality of meaning allows for the same in the directions of work chosen for the exhibit. While all the artwork in some way deals with memory and tradition, it also embodies a variety of conceptual approaches. Both Donovan Widmer and Patrick Luber investigate the dynamic and formative relationships between religion and culture. Whereas Katelyn Reiter and Mary Kocal explore the power of family narratives within their own lives. My own work, and that of Cherith Lundin, raises questions about the ambiguities and possible loss of traditions. Micah Bloom’s recent work on the 2011 Minot flood haunts the space between these two positions as a metaphor by regarding his childhood formation and the passing of the paper book. Additionally, while all artists work from particular traditions and influences, be it media or school, John Kaericher’s work often makes explicit visual ties to his mentors.
In these ways, the exhibit offers another voice into the conference conversations. Building around the theme of Teaching Theology and Handing on the Faith, the exhibition is rooted in the belief that the visual arts can be remarkable catalysts within these conversations, as well as profound symbols and mediations of the Divine. While the church has historically drawn upon the devotional and didactic potential of art, the engagement and contemplation of contemporary art allows divergent points of affirmation and provocation of its traditions.
*The beginning is a modification of Liz Well's introduction to her wonderful text, Land Matters
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