Vestige.

The image used here are the wounds of Jesus, also known as the Five Wounds of Christ (two hands, two feet + right side or heart). The image of the Five Wounds used in this work is based on a composite stained-glass panel from 15th C England. These wounds were important iconographic matter in English churches before the Henrician/Edwardian Reformation in the 16th C. This composite window is currently in the collection of the Metropolitan Museum of Art in New York City.  The Five Wounds can be found on the bottom left of the composition. 

More: The title Vestige refers to the "marks" or "traces" of divinity, and more specifically, the wounds of Christ that sparkle in all things. This image of divinity is echoed in the Parable of the Sower (Matthew 13), or in the image of God's Word issuing forth like rainfall (Isiah 55). This trace of divinity lingering in all things is here expressed as the Wounds of Christ. These wounds are those incurred during Jesus' crucifixion, first by nails on his two hands and two feet, and then by spear on his right side. The image of Christ's wounds in all things is the image of God's suffering with and in all things. This suffering is a suffering of love, and is the manner of God's mercy. Suffering is a source of distress, and even confusion, but it is also in identity with divinity that identifies with all Creation in compassion.

The hands, feet and heart of Jesus appear as simple stylized contours. This manner of medieval "short-hand" drawing was common in stained glass depictions as well as in illuminated manuscripts. Like contemporary forms of graphic story-telling including cartoon animation, street art, and graphic novels, culturally specific and familiar objects take on a stylization that is meant to effectively express and succinctly convey meaning. Similar to the manner in which calligraphy develops a style, or typeface, via regular use of variations in stroke weight and serifs, cartoons become easily "readable" and "writable" as they develop into a particular style. The readability of cartoons offers the possibility of shorthand expression and later became important tools for artists in Late Medieval / Early Modern sacred art following the example of frescos by Duccio and Giotto. Today, work by animators such as Genndy Tartakovsky, Craig McCracken and street artists like Barry McGee show contemporary examples cartoonish stylization. 

Reflection: Is it possible for the marks of divinity to become more readable in me today? Can I, in my own manner of being, become a more clearly readable (and writable) mark of divinity? Secondly, can I learn to read the marks of divinity in all things, and eventually become fluent?

Notes
Technique (Hoodie): Sublimation dye printing process transfers the image onto the fabric before cutting and sewing into the garment.

Technique (Tee): Direct-to-garment printing.

Technique (Accessories): Digital print.

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