In "Innocents Returned" Jordan Ring-Sakabe portrays Christ in a messianic manner of guiding the soul of the innocent child back to their heavenly reward.
Painted in a nod of homage to the masters of tenebrism and chiaroscuro, "Innocents Returned" strives to combine a mastery of realism with the divinity of Christ in a demonstration of how Christ's passion brings salvation to the faithful and innocent as well as confronts the sin of the world.
The high contrast image juxtaposes the darkness of sin and death with the light and redemption ushered in by Christ's passion and atonement, which symbolically falls upon the deceased child as the are about to be escorted over the threshold of heaven.
The child's death is intentionally ambiguous, representing all innocents lost. Christ is depicted not just in an amiable, loving role but donning a fiery red garment in an embodiment of justice and strength, challenging the minimized views of Jesus as merely a moral or spiritual teacher.
Based in the hope of the resurrection shared in 1 Corinthians 15:21-22, "Innocents Returned" is a visual exploration of the edge of dogmatic theology pertaining to the salvation of innocent children within the Christian context. It is a profound expression of faith, hope, and artistic vision by Jordan Ring-Sakabe created with the intention of providing consolation and comfort to individuals suffering with the loss of innocent unborn, aborted, infant, and young children. This artwork, deeply rooted in personal and spiritual experiences, also marks a significant chapter in Jordan's professional and faith life as he transitioned to becoming a religious oil painter.
Completed in November 2023, the journey of bringing "Innocents Returned" to completion began about six months prior. The initial inspiration for "Innocents Returned" came from the unexpected impact of Jordan's earlier work, "Of Such Is The Kingdom." This painting, meant to depict Christ's divinity and closeness to a living child, was misinterpreted by many as a memorial for a deceased daughter. Surprisingly, it brought comfort to people grieving over lost loved ones. This realization of art's power in healing and touching lives propelled Jordan to take on a more ambitious project.
Motivated to create a work of art that could facilitate divine healing and consolation for those suffering loss, Jordan also took inspiration in the works of the old Masters; such as the likes of Caravaggio and Velazquez. Feeling deeply inspired by their works, Jordan felt compelled to create a large-scale work of art, and discerned that with aid of advances in technology and artistic techniques, that a large-scale master piece like those of previous centuries could again be created in the modern area and could be done with the same level of depth, spirituality, and commitment to the Christian faith as the masters of old.
Heeding this call to adventure, Jordan determined to paint Christ as close to life as possible and based many of the features of his depiction of Christ on the image found on the shroud of Turin. For this piece, Jordan purchased a six-foot canvas for his portrayal of Christ. Additionally, this portrayal also was deeply informed by the work of Pierre Barbet's work "A Doctor at Calvary - The Passion of Our Lord Jesus Christ as Described by a Surgeon," as manifested in the depictions and locations of Christ's wounds.
However, with the birth of Jordan's second child, born amidst financial uncertainties due to job loss, bringing this work to completion proved to be a trial of faith and reliance on God amid anxiety. This was further compounded by the fact of Jordan's conversion into the Catholic faith and facing the difficulties common to those in a multi-faith household.
However, undeterred by the risks and challenges, Jordan pushed forward and decided to portray Christ in a messianic manner of guiding the soul of the innocent child and confronting the sin of the world. Stylistically, It juxtaposes the light in "Of Such Is The Kingdom," and confronts the viewer with themes of life, death, and the hope of salvation. The child's death is intentionally ambiguous, representing all innocents lost. Christ is depicted not just in a loving role but as an embodiment of justice and strength, challenging the minimized views of Jesus as merely a moral or spiritual teacher.
The painting aligns with the teachings of the Catechism of the Catholic Church, particularly on the hope for salvation for unbaptized children. This hope is interwoven with the painting's broader themes of God's love experienced in both joy and sorrow, in light and darkness.
Jordan's work goes beyond mere religious representation; it touches on societal issues, like the sacrifice of innocent lives for power and influence, reminiscent of King Herod's tyranny. The artwork is a call to remember the value of children, the grief of parents who have lost their young, and a prayer for those who harm innocents to seek redemption.
Finally, "Innocents Returned" is a testament to the belief in resurrection and eternal life, offering solace to those who have lost a child. It echoes the promise of reuniting with loved ones in the afterlife, a theme poignantly captured in Job 19:26. Jordan's paintings stand not just as artistic achievements but as beacons of faith, challenging and comforting viewers in their spiritual journey.
Reproduced from the artists original artwork of oil on canvas.
