The Ransom Project

By: Nancy Reinnam

THE POWER OF AN EMPTY CHAIR: SECTION B EXPRESSES TIME, LONELINESS, COMMUNITY, AND AUTHORITY

Time, community, news, and media provide a frame and foundation of our culture. An empty chair symbolizes a seat of power, a place of pun-ishment or reward, or the throne of a king—pull your chair in and create intimacy, turn your chair away to reject another person or idea. In their collaboration, Section B, artists Brian Nixon and Khanh Dang employ powerful imagery to signify various levels of time, community, loneliness, and authority in our culture.

“Though each piece is a stand-alone work, Section B is best understood as a collective endeavor, with each piece relating to the whole. Think of it like an unfolding drama, with events occurring within a particular scene relating to the larger act and plot; or maybe like an Advent calendar, where each day brings a new surprise, culminating with Christmas,”

Over the course of 28 weeks, Brian gathered the main photo from section B of the Sunday edition of the Albuquerque Journal. Using pastels and the headline from section B, he created an abstract painting over each photograph.

Brian explains the creative process: “Essentially, I cut out the leading image from section B (which

happens to be the New Mexico segment), wrote out the headline using a calligraphy pen, and then shaded over the image using pastels. Of great importance is the date: There is a historical chro-nology to the events, a linear unfolding of time. On the back of each image, I wrote the name of the photographer, giving credit to a person from within the community that helped define the work.”

WHAT INSPIRED YOU TO COLLECT IMAGES FROM SECTION B?

“I’m fascinated by the changing role of media. Newspapers used to rule the world, at least as media was concerned. Now, however, they’re on the decline. People prefer the Internet, smart-phones, and other sources to get their news immediately. So in a sense, the images taken from section B are like relics, archeological finds of a changing community, both technologically and socially. People can’t seem to wait for the news. We want it now. Think of the Olympics: We knew the results of the events before they were broadcast on the TV or printed in the paper. Media is morphing before our eyes.

“So my inspiration came from trying to under-stand the flow of time, the quest for community within a particular region within the United States, the changing role of media, and, believe it or not, how God fits into all of this, best repre-sented by the empty chair.”

Khanh overlaid each image with a silkscreen empty chair motif, resulting in a compilation of thought-provoking pieces, which emphasize the dichotomy of community and loneliness in society and causes viewers to consider their own relationships.

“When Brian came to me to explain his vision for the project, I wasn’t familiar with section B. I don’t read the newspaper. We discussed the work he had completed and when he brought me the images, I was amazed at what he created. He collected images about what is going on in our community, in Albuquerque, in New Mexico, in people’s lives—our lives. We selected the chair used in the Ransom Project artwork and documentary—a chair which represents isolation, loneliness, and desperation,” Khanh explained.Khanh chose a bright red acrylic paint for the silkscreen process.

“Red represents energy, action, desire, and passion—it also represents the blood of Jesus Christ. Everyone is busy, the activity in the photos reveals that—but red demands your attention. No matter what activity was going on in the photo or in our lives, I wanted to draw attention to the chair.”

WHAT DOES THE COLLECTION REP-RESENT TO YOU, KHANH?

“As I worked on the project I thought a lot about the chair. I look at it from a designer’s point of

By: Nancy Reinnam

view and consider how it was built, how it was constructed, and the materials that were used. I began to consider how the chair also represents the Christian life: Jesus created us uniquely; we are different from anyone else. I also considered the images before me. There was a lot of activity going on, but deep down, were they pretending to enjoy it or were they empty inside?

“I hope people can look at the collection of 28 pieces together as one. There’s a repetitive ele-ment: the same color, the same chair. While the background comes from different places and times, the chair is constant. I hope people ask, ‘Why does this same chair appear on every im-age? Why doesn’t the icon change?’ I want people to consider who is sitting on the chair of their life. I want them to see it and really think. I am repeatedly asking, ‘Is Jesus in your life? Is He your Savior? Is He involved in every area and activity of your life? Is He Your King?’”

The idea of the empty chair is a popular one. When Clint Eastwood delivered his empty chair speech at the 2012 Republican National Conven-tion, social media sites were deluged with empty chair photos and quotes. Bloggers, news outlets, even David Letterman jumped on board, point-ing to empty chairs with varying tones of both sarcasm and sincerity.

Brian explains, “Though most people found [East-wood’s] dialogue humorous, I found it to be fairly profound, in that it created a larger metaphor for who sits in the chair of our nation. The question

I think most asked during Mr. Eastwood’s skit was Who is it he is speaking to? The answer was simple: President Barak Obama. But for me, there was a larger issue: Who sits in the chair, the throne, of our life? Is it our nation? Our com-munity? Our media providers? It is the presi-dent? Self? A business corporation? God? Each community, nation, business, or individual has an empty chair at the heart of its existence. The question we must ask is: Who sits in that chair?

“Essentially, my inspiration came from how we as a people come to terms with the city of man versus the city of God. Augustine wrote his classic book The City of God around AD 410, at the heels of Rome’s fall. He gave counsel to Christians by asking, ‘Which city do we live for?’ In a sense, this is the question I’m asking through Section B, framing it not as a city, but through a chair: the throne of Christ or of man?”

THE PROJECT EVOLVED OVER TIME. WHY IS THAT?

“Section B evolved over time because that is how time flows,” Brian answers.

“As funny as it sounds, it takes time for time to pass. So with each unfolding week, a plethora of events transpire: people are born and die; wars happen; tragedy and sorrow occur; nations rise and fall. Within the reality of time there are bil-lions of events that take place, happenings, if you

will. Section B is capturing one or two moments of a precise piece of time. But these events are tied to a particular community within a pre-deter-mined framework, in this case Albuquerque, New Mexico December 2010 through June 2011.”

“Though I’m concerned with how time flows, I’m also interested in the events—occurrences within the space of time—that fill up time. And even more profoundly, how these events and occur-rences relate to the larger dimension of God’s providence.

“Romans 8:28 states, ‘We know all things work together for good to them that love God, to them who are the called according to his purpose.’ The concept of ‘working together’ brings with it the concept of confluence: differing rivers coming together to a larger body of water.

“I suppose Section B is a microscopic study on God’s providence, looking at how God is working in the events of life for His good purposes.

“And as a Christian, I know who sits on the chair of life. And it isn’t me.”’

I’M SITTING IN HADLEY’S TEA HOUSE IN ALBUQUERQUE, NEW MEXICO. THE SANDIA MOUNTAINS, WITH THEIR SNOW-CAPPED CREST, FRAME MY VIEW. I’M HERE WITH JOEY BELVILLE OF THE SEMINAL GROUP, THE ECHOING GREEN. JOEY ORDERED A LONDON FOG BLACK TEA—STEAMED; I ORDERED MY USUAL: BLACK TEA WITH MILK AND SUGAR. WE’VE GATH-ERED TO DISCUSS MUSIC, THE ECHOING GREEN, AND THEIR ALBUM, IN SCARLET AND VILE.

For those of you not too familiar with The Echoing Green, a little history is due. The Echoing Green is the brainchild of Joey Belville, a kid who grew up in a boys’ home in Belen, New Mexico. The group formed in 1991, a time when “Grunge Rock” ruled the airwaves. Yet, instead of jumping on the grunge bandwagon, Joey and band mate Aaron Bowman did something unusual: They stuck to their musical guns and released synth-based music.

The duo grabbed the William Blake poem “The Echoing Green” (from Blake’s book Songs of Innocence) as their name, and set out to unravel the musical dreams swirling in their heads. They hit the road and the studio.

.Now, ten albums later, with a Dove-award nomination, personnel changes, and constant music making, The Echoing Green is one of the Christian music industry’s unsung heroes.

Still, as Joey reminds me: “Let’s not con-

centrate on the past. It’s the future that looks bright.”

However, things have been busy enough for The Echoing Green. Belville and singer Chrissy Jeter released a song on the X-Box 360 video game DDR:Universe called “Heart with a View;” they have opened for 80s groups Alphaville and ABC, as well as recent rockers Shiny Toy Guns and Flyleaf. Not to mention Joey’s work as remix producer for songs by Mandy Moore and Michael Stipe, Switchfoot, and Project 86.

Nevertheless, it is the music of The Echoing Green that stays ever close to Belville’s soul.

“Two new singles, ‘Sanctuary’ and ‘Suffer’, were released on the Different Drum label,” Joey tells me. “What makes them unique is that they were released on vinyl, CD, and on iTunes.”

When asked why they released vinyl, Joey states that the “music industry has drastically changed. The day of the “big” CD release is al-most a thing of the past. Other than a handful of huge bands (U2, etc.), most bands rely on internet sales of single songs or collector items such as vinyl to generate interest and revenue.”

I ask what the song “Sanctuary” is about.Before replying, Joey becomes contempla-

tive. “It is a worship song in disguise,” he states. “In a weird sense it is creepy-cool, kind of elec-tronic Goth. What I tried to communicate in the song is the process of dying to oneself, of dying to the flesh. The chorus goes: ‘You define the line between human and divine.’ So, in a sense, it is the idea of one trembling in God’s holiness. This can be a very ugly and violent process, as we recognize His holiness and majesty and how

FINDING SANCTUARY

WITH THE ECHOING GREEN

By: Brian Nixon

truly human we are. In an odd sense, God is in the process of destroying our human nature, rescuing us from ourselves and sin.”

I then turn to the song “Suffer.” Once again, Joey waxes philosophical.

“As a large part, we as Christians were made to suffer in this world. The song is about rejoicing in hardships. I was inspired by a John Piper ser-mon I heard where he told a story of a missionary that made an impact in the community he was ministering to through the process of suffering.”

Joey concludes by reflecting that, “beauty would not be beauty without a solid dose of the

tragic; to suffer is to tremble in life until we are in the splendor of God’s hands.”

I remind him that the tone and sound he de-scribes is darker and more reflective for The Echo-ing Green, who historically have been described as upbeat synth-pop.

As a matter of fact, I remind Joey that early interviews with The Echoing Green always set the tone with the phrase: “Defend your Joy.” Yet now, we are talking about suffering and the need for sanctuary in a cold world.

“Yeah,” Joey jumps in, “The Echoing Green is a tad more moody and reflective in sonic quality these days. I used to write—almost exclusively—in major, happy keys. Now I write in minor, more contemplative keys. It all began with our album Winter of Our Discontent. Overall, it was a darker, more serious album that developed thoughtful themes of disharmony with oneself. Yet in all our albums, past or present, I have always tried to connect to our audience on a human level. Though I compose in electronic form, I feel the songs are very earthy and human.”

I ask how the contemporary Christian music scene handles his new direction of music.

“To tell you the truth—they don’t. Sadly, the Contemporary Christian Music market is very narrow. There aren’t many themes present on a popular level. It is as though there are only a handful of topics one can address—if one veers off from these themes you don’t get airplay or attention. Ultimately, this is fine with me. I don’t write for the CCM market—I write for God, myself, and those willing to listen.

“Take, for instance, the album I wrote and

produced called Pristina. I had several wonderful singers on this album, including the Shins (a very popular group that formed in Albuquerque) with backup singer Anita Robinson. The album got very little play on any Christian station, but I felt it was a strong release. Yet, because it didn’t fit nicely into any preconceived ideas of what Chris-tian music was about, it was largely ignored.”So I ask Joey where The Echoing Green ends up performing.

“Well, not in many churches these days. But—that may change. Right now we perform mostly in local clubs, festivals, and neutral venues. It is kind of cool how the Lord has opened up some doors with Goth and animation venues. These Goth kids relate to the music, and whether they know it or not, are being ministered to in very concrete ways.

“Our new album, In Scarlet and Vile, contin-ues with the thought-provoking approach to the music that I have been writing lately.”I asked him, “Do you perform with a live band?”

“The Echoing Green is now Chrissy and I. When we perform live, we have about three other musicians joining us—giving the music a definite open and atmospheric feeling. I love performing live. I’m excited to roll out the new material.”

As we finish up our tea, we walk out into the crisp, New Mexico air, a little more thankful that God works in the most mysterious ways—through suffering and love, but always providing a sanctu-ary for the weary soul.

SADLY, THE CONTEMPORARY CHRISTIAN MUSIC MARKET IS VERY NARROW. THERE AREN’T MANY THEMES PRESENT ON A POPULAR LEVEL.

I RECENTLY HAD THE HONOR OF WATCH-ING FILMMAKER DANIEL LUSKO DIRECT A SERIES OF SHORT FILMS WITH PASTOR SKIP HEITZIG. THE VENTURE IS ENTITLED THE RANSOM PROJECT.

I marveled as Daniel ran with the camera-man, capturing the scenes he wanted, sat in a wheelchair to move with Skip as he strolled and talked, directed Skip in tone, inflection, and body language, and paid particular attention to light-ing, sound, and the overall atmosphere of the building we were in.

FILM: AN ACT OF CREATIVITY, I THOUGHT.

It just so happened that the building where the filming took place is a hotspot for Hollywood (or Tamalewood as we say here in New Mexico) film projects. Transformers, The Terminator, and a host of other films have been shot in the same building.

The building—A & P’s old division offices and major repair shops—is just off of 2nd Street in the downtown area. The repair depot is huge and metallic, with broken windows, graffiti, multiple facilities, and character as grand as the building itself. Three trains still reside in the interior, not even taking up a fraction of the space. Though it is an old, dilapidated edifice, I still marveled at the thought that an architect’s mind helped

ON CREATIVITY AND THE CREATOR

SADLY, THE CONTEMPORARY CHRISTIAN MUSIC MARKET IS VERY NARROW. THERE AREN’T MANY THEMES PRESENT ON A POPULAR LEVEL.

By: Brian Nixon

create it; true, for a different purpose (trains), but now used for art.

ARCHITECTURE: AN ACT OF CREATIVITY, I MUSED.

Using the building at the same time as The Ransom Project were the set designers for the upcoming movie, The Lone Ranger, starring Johnny Depp. I was able to peek in the workspace, marveling at the set props: trains, tunnels, and rock formations abounded. I was impressed with the precision and intricacy of their work. The train cars, though not finished, looked as though they were pulled from a late 1800s train yard. Nails, wood, saws, tools, and work belts were strewn everywhere. I could literally smell craftsmanship and creativity throughout the building.

CRAFTSMANSHIP: AN ACT OF CREATIVITY, I SAID TO MYSELF.

In between shots for The Ransom Project, I sat reflecting and reading. It just so happened that earlier in the day I attended an event highlighting the work of Nasario Garcia, a New Mexico folklor-ist and former professor at Highlands University. He told me about his poetry: “Simple topics writ-ten in simple ways. But I wanted to capture what life was like growing up in northern New Mexico. Things as common as a gopher.” I liked that.

of “higher power” is a little too elusive for me, I respect the conclusion Salmon comes to: God has an “aesthetic sense.”

Every portion of this day—in some form or fashion—was a reflection of the Creator. In theological terms this is called teleology: design and purpose in nature. The teleological argument states, from one popular online site, that purpose and design exist in the universe, “Beyond the scope of any human activities. The teleological argument suggests that, given this premise, the existence of a designer can be assumed, typically presented as God.”

Film. Architecture. Craftsmanship. Poetry. Prose. The splendor of nature: all examples of design and thought-fullness; all indicators of something greater—more profoundly magnificent then ourselves. For truly, “There is of course no good reason—or none that man can define—for that flycatcher or that oriole to carry such colors around.”

What man can’t define, God paints—as perfect colors—on the universe.

I MUSED, CONNECTING NASARIO’S THOUGHTS TO DANIEL’S WORK: POETRY: ANOTHER SIGN OF CREATIVITY.

The book I happened to be reading this day wasn’t Professor Garcia’s, but a book by southern New Mexico author M.H. “Dutch” Salmon entitled Gila Libre!: New Mexico’s Last Wild River. I re-cently returned from a trip in the Gila Mountains, the largest wilderness area in the Southwest (3.3 million acres). I thought I would read up on the history and life of this magnificent region. Salmon documents the characters, people, and ecology of the Gila with great care and interest.Prose: another creative act: writing, storytelling, and history.

I was beginning to wonder why I was hav-ing so much fun on this day—reveling in acts of creative expression. Salmon’s book provided part of the answer. In chapter seven, Salmon describes the thrill of seeing two birds on a fishing trip: the Vermillion flycatcher and a Bullock’s oriole. After they flew off, Salmon states, “There is of course no good reason—or none that man can define—for that flycatcher or that oriole to carry such colors around. Unless we count beauty as a good, and reason enough for belief in a higher power with an aesthetic sense.”

There it was—in a wonderful sentence—the reason I was having so much fun on this day: “I count beauty as good,” a reflection of God’s cre-ative self and character. Though the description

MOST KIDS LOVE TREASURE MAPS. AT LEAST I DID. I STUDIED FICTIONAL MAPS, LOOKING FOR ROUTES TO WHERE X MARKS THE SPOT, THE PLACE WHERE UNTOLD ADVENTURES AWAIT AND TREA-SURES ABOUND.

Not much has changed for me as an adult: I still seek out treasures. But unlike the fictional maps of my childhood, I look for cultural treasures in the form of people.

I’ve recently discovered one of those trea-sures: composer Warner Hutchison, Ph.D. How I met him is indeed a story worth telling.

During a December 2011 church service at Calvary Albuquerque in New Mexico, a lady faint-ed after the service. She was carted off to a side room; I was there to provide a presence to the paramedics. As it turned out, the lady was from a local retirement community. She was just fine.

While I was waiting for the paramedics to complete the health checks on her, a few of the other residents were standing around watching the events transpire. To make good use of the time, the director of the group introduced me to a few of the folks. The first person introduced to me was a musician.

“Brian, I’d like you to meet Warner. He’s a musician just like you,” the man said.

“Nice to meet you,” I replied. “What instru-ment do you play?”

“Well,” Warner began, “I used to play French horn, but mostly I compose now.”

A light went on in my head. “Composition?” I asked.

“Yes. I was department chair at New Mexico State University and resident composer,” came the answer, somewhat humbly.

“Is your music available online?” I followed.“Oh, yes,” he said with a smile.Therein lay the map: the quest to discover

the music of Warner Hutchison. I quickly headed off to a computer to look for the music—an uncharted area for me. Lo and behold, there were dozens of pieces, several CDs, and multiple sites discussing his work. I had discovered a treasure! I ordered some of the CDs, in particular his Apoca-lypse I and Apocalypse V, both based on text found in the book of Revelation. After listening to them, I was smitten. I made a point to visit Warner at the retirement community.

I can only say that our conversation was the beginning of a cultural and musical adventure that I hope will continue. Warner told me of his early musical and religious influences, his love for his family, his journey into composition, and his 29 years spent at New Mexico State University, first as French horn instructor, then as Depart-ment Chair. Along the way, he discussed his mentor, composer Roy Harris. Harris is linked to the larger Lost Generation of composers: Aaron Copland and Samuel Barber. Harris’ Symphony No. 3 (1939) is considered one of the great American musical works.

Warner (who was born in 1930) began his musical journey at age 17 as horn player and com-poser in his hometown of Denver, Colorado. After

DISCOVERING A TREASURE:

COMPOSER, WARNER

HUTCHISONBy: Brian Nixon

a brief stint as church musician (even filling in the pulpit a couple of times), Hutchison went on staff at Houghton College in New York. It was during his years at Houghton that he met and studied with Roy Harris, spending the summer months as musician at a Free Methodist church to help pay for his time with Harris.

He was hired at New Mexico State Univer-sity as the French horn teacher in 1967, but later was promoted to Department Chair. He remained at NMSU for the remainder of his career, where he was the composer-in-residence.

As a strong Christian, Warner has written over 270 works since 1949, many of which adhere to Christian themes. His Mass (written in 1992; five movements) is for chorus, soloist, and wind ensemble. His Apocalypse I (1979) is for brass quintet and percussion. Apocalypse V (1989) is for brass quintet, percussion, and electric keyboard.

Concerning the Apocalypse works, Warner stated, “This work is based on prophetic passages from the books of Daniel and Revelation, concern-ing the events leading up to the final conflict on earth and in heaven. It is a very demanding piece, requiring top-notch musicians. Not all the music is beautiful; some is ugly, portraying violent, disturbing emotions. I use tonal harmonic and melodic materials that fuse atonality and serial content.”

When asked about the Mass, Hutchison said, “The work is roughly 34 minutes long, and uses the Latin text of the Ordinary Mass: Kyrie, Gloria, Credo, Sanctus, and Angus Dei. Dr. Jerry Ann Alt commissioned my setting of the Mass.”

Hutchison’s music has been performed at the Lincoln Center, Kennedy Center, and Carnegie Hall. In addition, his works have been performed beyond the US—in Canada, China, Finland, France, Germany, Japan, Netherlands, and Russia. The routes on his musical map are quite impressive, indeed.

If there is one thing I have learned in my brief quest to understand the music—and man—that is Warner Hutchison, it is that his treasure chest if full of gems, precious metals, and some-thing much more important: the Spirit of God.

Warner is a link to the heyday of great American composers, he is a brilliant composer in his own right, and he is not resting on his laurels. He is still composing, thinking, and creating music for God’s glory and humanity’s benefit.

With Hutchison, I’m finding my way to the X on his musical atlas—and I hope to continue to enjoy the treasures of Dr. Hutchison’s music for years to come

“I USE TONAL HARMONIC AND MELODIC MATERIALS THAT FUSE ATONALITY AND SERIAL CONTENT.”

WelcomeInterview with Dr. Warner HutchisonInterview with Daniel LuskoSection B Art ShowingThe Echoing GreenRandson Video PrimerMessage By Jesse Lusko

THE COLLECTIVE: RANSOM

The Collective is a consortium of Christian artists, filmmakers, musi-cians, dancers, and writers gathering to honor Christ by highlighting work that challenges the status quo of our culture, infusing it with a Christian worldview and a thoughtful, creative alternative.

Calvary Albuquerque4001 Osuna Road NEAlbuquerque, NM 87109calvaryabq.org