At InSights Journal, we pair theological reflection with visual art to honor the richness of Majority World perspectives – not only in thought, but also in creative expression. We believe that art can offer its own kind of theological insight and deepen the reader’s theological imagination.

Our artwork selections are made with care and intentionality. Whenever possible, we feature pieces that reflect the geographic and cultural contexts of our contributors, as well as the theological questions or themes they explore. At other times, the art encounters us in serendipitous ways. That was the case with the soul-stirring and thought-provoking work of artist Jemila Isa, to whom we are deeply grateful for granting us permission to feature her art. We also are attentive to copyright constraints. In the instances we are not collaborating directly with an artist, we limit our selections to works designated as “Open Access.” And in cases where cultural or thematic alignment is not possible, aesthetic merit within those parameters guides our final choices.

1. Christ’s Baptism in the Jordan. 2023. Holy Spirit Catholic Church in New Westminster, British Columbia, Canada. Courtesy of Serhii Kolodka.

As noted by the editor’s introduction, this issue deals intimately with suffering. From an art perspective that finds itself at the intersection of theological reflection, our sensibilities were drawn to the person of Jesus, the One who knows our pain. He is God with us, especially in our suffering. The cover art by Ukrainian iconographer Serhii Kolodka invites us into precisely this kind of reading: one that keeps Christ visible exactly where he has chosen to dwell – in the midst of suffering itself.

2. The Transfiguration, Jesus with Moses and Elijah. 2020. Church of the Holy Trinity, the village of Babychi, Ukraine. Courtesy of Serhii Kolodka.

This artwork, also by Ukrainian artist Serhii Kolodka, is featured alongside Taras Dyatlik’s article on the silence of Russian Christians in response to their government’s aggression against Ukraine. The pairing seeks to honor the richness and steadfastness of Christian faith in Ukraine. 

3. NASA’s Earth Science and Remote Sensing Unit, Lyndon B. Johnson Space Center. View of Myanmar taken during ISS Expedition 6. February 26, 2003. Photograph. https://commons.wikimedia.org/wiki/File:ISS006-E-33626_-_View_of_Myanmar.jpg. 

For Laise Sindra Ribeiro’s article, “Finding Hope in Trauma,” we wanted an image more hopeful than what our usual repositories offered. Our creative director, Daniel DeWitt, discovered one in the most unexpected place: NASA’s archives. The satellite image of Myanmar looks like a painting – and carries exactly the forward-looking feeling we wanted.

4. Book Cover with Tree, Birds, and Insects. ca. 1700. Lacquer, opaque watercolor, and gold on leather,23 x 16.3 cm. The Met, New York. Object no. 2022.205. https://www.metmuseum.org/art/collection/search/454815. 

We selected this artwork, created in India, to reflect geographic connection – and though Paul’s article focuses on Psalm 44, the artwork visually evokes the opening passage of the book of Psalms.

5. Seated Male Figure. mid to late 19^th century. Wood, glass, metal, kaolin, 29.2 x 12.1 x 12. 1 cm. The Met, New York. Object no. 1996.281. https://www.metmuseum.org/art/collection/search/317792. 

For Jean P. Musavuli’s article on lament and hope in eastern Congo, we chose this figure for its geographic and cultural connections, but also because it represents an “idealized image of a leader” who contemplates both “his destiny in the other world and his ongoing responsibilities to the living.” 

6. Two Panels with Flower Designs. ca. 1650. Wood, painted and lacquered, 8.1 x 22.7 cm. The Met, New York. Object no. 2022.193a. https://www.metmuseum.org/art/collection/search/825614. 

The selection of this artwork, created in India, seeks to visually emphasize the vision of shalom and flourishing Emmanuel invites us to consider.

7. Two By Two (29.7cm x 42 cm, oil on paper, 2025). Courtesy of Jemila Isa.

I came across the soul-stirring work of Jemila Isa through a friend, who is himself a painter. There is something about the way Jemila approaches her art that can only be rightly captured by her own words. She says, “I grew up in church and experienced both its restrictions and the deep sense of community, belonging, and identity it can provide. In many ways, my practice feels like a personal ministry, one that both honours and questions the role of the church in shaping lives.” An area of focus for her is “the impact of religion and spirituality on women, particularly within African communities, both on the continent and across the diaspora.” So, when I came across this piece and Congregation, the connection with Dr. Esther Atsen’s book review felt organic and immediate.

You can learn more about Jemila’s work at her website: jemilaisa.com. You can also follow her on Instagram @jemilaisa.

• Congregation (29.7cm x 42 cm, oil on paper, 2025). Courtesy of Jemila Isa.

• Christ in the Rubble. 2023. Courtesy of Kelly Latimore.

Iconographer Kelly Latimore painted this icon in collaboration with Red Letter Christians, Shane Claiborne, and Rev. Dr. Munther Isaac, making it a fitting choice to feature alongside the review of Isaac’s book. The artwork carries “the prophetic message that if Jesus was born today, he would be born ‘under the rubble.’”

We are incredibly grateful to Kelly Latimore, Jemila Isa, and Serhii Kolodka for generously allowing us to feature their art in our Fall issue.