The museum, continued

While we were at the Church History Museum, these are the two pieces that had me fighting sudden completely unexpected tears. Click to embiggen.

A crown of thorns made by olive leaves dipped in metal, and hanging from it, a thousand paper cranes, each one created with a person in mind, each paper printed with that person’s digital skin tone, the cranes separated by gold and suspended in the air and held in place only by the tension between the support from above and gravity from below.

I wondered if its creator had cared for Covid patients these past two years.

And this one. He Who Is Without Sin. It took a heartbeat to see the four (edit: five–making its point) bruises, none of them fully revealed to the viewer, where the stones had struck. The intensity of color and life above the ground in contrast to the stones returned to the dirt of the desert from which they’d come.

I came out of there wanting to be a better, kinder person: ‘First, do no harm.’