In his latest installation of sculptures, drawings, gouaches and video, Eric Heist continues his exploration of the impact of institutions upon individuals. Utilizing crude approximations of stained glass panels, pews, and a pulpit, Interfaith Center presents the altered accoutrements of a place of worship to make a specific, personal observation on the nature of belief.

The “stained glass windows” are constructed of colored paper and felt, resembling inexpensive instructional bulletin boards from an elementary school. Tacked upon each panel are quotations about religious thought. Divided into three arched windows and one rose window, the quotations are arranged into four categories: “critics”, “believers”, “extremists” and “unifiers”. Heist chose quotes from Marx, Lenin, Bakunin, members of a fundamentalist church, members of Al Qaeda, members and leaders of cults in the U.S., Christ, Martin Luther King, Jr., and others. Each “window” represents a body of thought concerning the question of faith with the windows/bulletin boards functioning as organizing icons for the mass of conflicting proclamations.

A set of delicate pencil drawings depict collapsed churches, ruins, and churches under construction, which are suggestive of a less dogmatic, more flexible approach to faith. Gouaches on paper depict mega-church interiors and the Crystal Cathedral in Orange, California. More forcefully rendered with hard-edged lines and vivid color, these present a more rigid, institutionalized approach to faith than in the drawings, one that commands attention and is intolerant of questioning.

The sculptural components include shortened versions of church pews allowing only a single occupant. Providing a counterpoint to the “windows” that they face, the pews provide an introspective, personal space for meditation. Under each of the three pews, fluorescent-lit miniature landscapes display materials of particular significance – a pile of veneered particleboard, a pile of broken cinderblocks, and a crushed mirrored ball. These refer to quotes from Christ that are included in the rose window panel: “I am the light before all things. Split a piece of wood and I am there; lift up a stone and you will find me” and “The kingdom is spread out upon the earth and people do not see it. It is within you.”. These suggest a radical message even today – that we do not need the very institutions that claim to act in Christ’s name. The choice of construction materials suggests that in the contemporary world the presence of God is both constant and inescapable.

The centerpiece of Interfaith Center is a double-tiered pulpit that towers over the viewer. At first glance it appears empty, but when the viewer looks behind the base he/she discovers a figure huddled in a blanket. Titled Artist’s Talk, the piece comments on artists’ unwillingness to articulate contemporary issues directly in their work while often treating artistic practice as a substitute for religion.

Also included in the exhibition is a video titled Interfaith Center: Q & A Forum. The video begins with a number of questions relating to correct behavior (How can we tell the difference between what is good and what is bad? Is alcohol good or bad?) and combines excerpts of sermons by TV evangelists including John Hagee, Neil Ellis, Ron Carpenter, Benny Hinn, Joyce Meyer and others. These questions become more specifically related to personal wealth and health issues which are combined with forceful exclamations commanding the audience to “Choose Life!” and “I command your body to function normally!”. The video then offers rewards such as “financial freedom” and miraculous cures based on faith and good behavior. Images of individuals and massive audiences in mega-churches draw attention to the power of these charismatic speakers, both as individuals and in groups.

[This should be an interesting companion show to Robert Boyd’s exhibition at Participant. -ed]