Grete Refsum

Divided Crucifix – An Artistic Exploration of Cross and Crucifix Form in Relation to Contemporary Theological Knowledge

This paper looks retrospectively at an art development project on cross/crucifix form as an example of how theoretical studies and art practice may be combined to yield new insights.

Between 1986 and 1995, I explored the theme of the cross/crucifix theoretically and artistically. To this day, I am uncertain how to categorize this work: was it research, a development project, or merely my normal way of artistic working? This conference offers an occasion for rethinking the question. The initial phase of the project was accepted as a hovedfag degree in 1991. The second phase, 1992-1995, was intended to be a post hovedfag that might result in a doctoral degree. It did not, an amputated version, however, ended in an appendix of my doctoral thesis “proper” that was purely theoretical (Refsum 2000).

An art development project is defined as a project that produces art works and a documentation of the process.1 It is expected to have some component of exploration that is documented, which has relevance for the artistic practice. In my case, I systematically sought knowledge about the cross/crucifix topic from different fields and perspectives. My aim was to obtain a deepened understanding of the theme that I believed would be reflected in the art works to be made. The information was compiled through literary studies from known sources. From the documentation of the process, it becomes evident how the knowledge gained was incorporated in my thinking throughout the art producing process. Without the theoretical studies undertaken, the result undoubtedly would have become another. When I review my own artistic processes, it has nothing to do with evaluating the artistic quality of the outcome. It is a matter of heightening my awareness of the methods applied and the choices taken, both of which may be expressed and evaluated by the person who is responsible for them. In the case of working on the cross/crucifix theme, it was important to point out how knowledge and artistic outcome are interlinked, especially so, because my art works deviate from traditional solutions. Most artworks embody and express new understanding. Sometimes, art or design results may even be regarded as original contribution to new knowledge, given that the process is accounted for by rational means, in words and images, so that it becomes transparent to others, can be criticized and discussed. If so, it may be considered research and count in a scientific context.

First, the paper locates the problem of interpreting the cross/crucifix symbol that initiated my interest and art development project.2 Second, it accounts for the historical evidence concerning crucifixion. Third, my cross/crucifix project is presented with a few references to previous cross/crucifix formal interpretations. And fourth, the project is discussed at a general level as an example of how theoretical study and art practice may be combined to yield new knowledge.