Lord, When did We See You? Towards a Topography of the Visual

As it outlines a Christian topography of the visual, this article argues that the gaze cultivated by attention to art and the gaze of mercy bear important affinities, even if particular artworks exhibit tensions with mercy. Drawing on Augustine, Dionysius and Gregory of Nyssa, we argue that in this topography, the visual registers in multiple depths, which we explore through four distinct moments: seeing, seeing the excess, seeing the claim and seeing the divine. By analyzing the gaze of art and the gaze of mercy together with reference to artworks created during and about El Salvador’s civil war (1980–92) – the homilies of Óscar Romero, the poetry of Carolyn Forché and the visual art of Fernando Llort – we show that the gaze of art echoes and can prepare for the gaze of mercy, particularly in the first three moments, for which there are direct analogies between art and mercy’s gazes. There is no such direct analogy in the fourth moment of seeing the divine, yet even here there is a faint foreshadowing that connects art to mercy.

Duke Scholars

Author Natalie Carnes Divinity School

Author Matthew Philipp Whelan Divinity School