IN THE GALLERY
Out of the Depths: Interview with Joe Cory
by John Shorb
Out of the Depths: Interview with Joe Cory
by John Shorb
Joe Cory works at the intersection of theology and justice, taking on some of the most contentious issues of our time with a collaborative approach. He serves as an Associate Professor of Art at Samford University in Birmingham, AL, where he is a Faculty Fellow in Samford’s Center for Worship and the Arts. He holds an M.F.A from the University of Chicago and a B.F.A. from the School of the Art Institute of Chicago. He currently serves on the board of directors of Christians in the Visual Arts.
I wanted to begin with your work on "Out of the Depths: An Exhibition Exploring the Complex Nature of the Migrant Crisis". Could you give an overview of that project and how it came to be?
"Out of the Depths" is a collaborative exhibition featuring my multimedia work and photographs by a Lebanese street photographer named Fadi BouKaram. The exhibition was organized by the Rev. Matt Schneider of The Cathedral Church of the Advent in Birmingham, AL, who has a deep interest in the arts and culture. It is an accidental exhibition in the sense that all three of us were thinking about these issues separately on our own, long before organizing the exhibition. It came about in the summer of 2016 when Matt visited my studio and mentioned his friend Fadi and I shared similar interests. Matt wanted to organize a one-night exhibition in Birmingham, but word of the exhibition reached a local museum director who invited us to exhibit the work (the show opened in February 2017, soon after President Trump signed the travel ban). What we originally planned to be a one-night exhibition turned into a multi-year project.
The exhibition itself acts as an insider/outsider conversation centered on the tension that exists in the region. In my case, I am far removed from the crisis. I live in Alabama, and I haven’t visited this part of the world. My understanding of the situation is filtered by the news media. This separation means I have a fragmented understanding of the crisis, which I reflect in the style of the work. Fadi grew up in Lebanon and is a witness to the tension there as a result of the crisis. The crisis directly shaped his photography because the natural confrontation of a photograph caused him to rethink the way he photographed the immigrants he regularly encountered. His first-hand experience allows him to expose the contradictions he witnessed in a country struggling to make sense of decades of conflict.
In America we like to see things as an exclusive choice between two alternatives—for example, either accept immigrants or build a wall to keep them out. The situation isn’t this simple and unfortunately, there are thousands of innocent people caught in the middle of it with sometimes fatal consequences. We hope this exhibition will generate conversation around these issues, bring light to the complexity of the situation, and portray a glimpse of the humanity of those involved.
What are the main theological or religious themes for you in this work?
As an artist, who is also a Christian, I believe there are always theological ideas undergirding my work. Specifically, this work comes from a few places. First, all humans are created in God’s image (imago Dei) and because of this, all humans possess an inherent dignity and their lives matter regardless of socio-economic status or country of origin. This exhibition attempts to recognize the human dignity of the migrant by acknowledging their humanity amidst a broken situation. Additionally, Adam’s turning away from God and our resulting depravity, has separated us from God. Thus, all of us have been alienated from our intended place in the garden, which is illustrated throughout the whole of scripture. If you consider it in these terms, then we the church are similar to migrants on a journey back to God through Christ. We may not share the same physical experiences with migrants yearning to gain access to our borders, but deep down we should empathize with them in a spiritual sense. Finally, we are commanded to care for one another regardless of social status. I am not wealthy, nor do I feel called to move to the front lines of this crisis. However, I can show love towards the immigrants I encounter by acknowledging their dignity and the struggle they face and showing compassion towards them. I hope that through this work others will be compelled to show compassion to them also. That is what I have to offer and what I hope this work will achieve.
How did you or your views evolve as you worked on this project?
As I researched the crisis and spoke with Fadi about his experience, I learned about its complexity and just how much I didn’t know. As Americans, we tend to only hear fragments of the situation and we make judgments based on often incomplete information. These often turn into grand political statements or solutions. Our culture has become so divided that we often choose a side and overlook those who are suffering. I have also learned about other artists who are creating work about the situation. Major artists like Ai Weiwei and others like the photographer Sara Karens are paying attention to the crisis in ways the rest of the population is not and using their work to bring attention to it. The crisis is so big and complex, and I’ve realized it is not easily solved. I am continuing to learn how to live within that tension.
I’m also interested in your work with Project R5: South Africa.
My "Out of the Depths" work is a byproduct of an experience I had in 2013 when I participated in a seminar in South Africa. During the seminar, a group of artists from the U.S. and Africa spent three weeks studying the role art played in the post-apartheid reconciliation process. We witnessed how art can heal deep wounds and restore dignity to those who’ve had theirs stripped. The experience opened my eyes to the power of art and allowed me to witness how it can generate community-wide conversations on difficult topics. This experience caused me to rethink how I approach my work. It challenged me to look outside myself and find ways art can contribute to the betterment of society.
And your most current work. How do these past projects inform what you’re working on now?
I continue to explore these themes but in different ways. Recently, I completed a series of digital collages based on Schubert’s "Die Winterreise" song cycle. Interpreting Schubert’s music brought a different set of challenges, but the theme of a displaced traveler on an unfinished journey is still present. I’ve realized two ongoing themes in my work are displacement and unending journey. I think this is directly related to a Christian’s displaced status in this world and the theological idea of the "already/not yet." We exist in the liminal space between the present world and the world to come. My work aims to navigate and better understand this space.
You can learn more about the "Out of the Depths" exhibition at www.outofthedepthsexhibition.com and see Joe’s recent work at www.joecory.com.
I wanted to begin with your work on "Out of the Depths: An Exhibition Exploring the Complex Nature of the Migrant Crisis". Could you give an overview of that project and how it came to be?
"Out of the Depths" is a collaborative exhibition featuring my multimedia work and photographs by a Lebanese street photographer named Fadi BouKaram. The exhibition was organized by the Rev. Matt Schneider of The Cathedral Church of the Advent in Birmingham, AL, who has a deep interest in the arts and culture. It is an accidental exhibition in the sense that all three of us were thinking about these issues separately on our own, long before organizing the exhibition. It came about in the summer of 2016 when Matt visited my studio and mentioned his friend Fadi and I shared similar interests. Matt wanted to organize a one-night exhibition in Birmingham, but word of the exhibition reached a local museum director who invited us to exhibit the work (the show opened in February 2017, soon after President Trump signed the travel ban). What we originally planned to be a one-night exhibition turned into a multi-year project.
The exhibition itself acts as an insider/outsider conversation centered on the tension that exists in the region. In my case, I am far removed from the crisis. I live in Alabama, and I haven’t visited this part of the world. My understanding of the situation is filtered by the news media. This separation means I have a fragmented understanding of the crisis, which I reflect in the style of the work. Fadi grew up in Lebanon and is a witness to the tension there as a result of the crisis. The crisis directly shaped his photography because the natural confrontation of a photograph caused him to rethink the way he photographed the immigrants he regularly encountered. His first-hand experience allows him to expose the contradictions he witnessed in a country struggling to make sense of decades of conflict.
In America we like to see things as an exclusive choice between two alternatives—for example, either accept immigrants or build a wall to keep them out. The situation isn’t this simple and unfortunately, there are thousands of innocent people caught in the middle of it with sometimes fatal consequences. We hope this exhibition will generate conversation around these issues, bring light to the complexity of the situation, and portray a glimpse of the humanity of those involved.
What are the main theological or religious themes for you in this work?
As an artist, who is also a Christian, I believe there are always theological ideas undergirding my work. Specifically, this work comes from a few places. First, all humans are created in God’s image (imago Dei) and because of this, all humans possess an inherent dignity and their lives matter regardless of socio-economic status or country of origin. This exhibition attempts to recognize the human dignity of the migrant by acknowledging their humanity amidst a broken situation. Additionally, Adam’s turning away from God and our resulting depravity, has separated us from God. Thus, all of us have been alienated from our intended place in the garden, which is illustrated throughout the whole of scripture. If you consider it in these terms, then we the church are similar to migrants on a journey back to God through Christ. We may not share the same physical experiences with migrants yearning to gain access to our borders, but deep down we should empathize with them in a spiritual sense. Finally, we are commanded to care for one another regardless of social status. I am not wealthy, nor do I feel called to move to the front lines of this crisis. However, I can show love towards the immigrants I encounter by acknowledging their dignity and the struggle they face and showing compassion towards them. I hope that through this work others will be compelled to show compassion to them also. That is what I have to offer and what I hope this work will achieve.
How did you or your views evolve as you worked on this project?
As I researched the crisis and spoke with Fadi about his experience, I learned about its complexity and just how much I didn’t know. As Americans, we tend to only hear fragments of the situation and we make judgments based on often incomplete information. These often turn into grand political statements or solutions. Our culture has become so divided that we often choose a side and overlook those who are suffering. I have also learned about other artists who are creating work about the situation. Major artists like Ai Weiwei and others like the photographer Sara Karens are paying attention to the crisis in ways the rest of the population is not and using their work to bring attention to it. The crisis is so big and complex, and I’ve realized it is not easily solved. I am continuing to learn how to live within that tension.
I’m also interested in your work with Project R5: South Africa.
My "Out of the Depths" work is a byproduct of an experience I had in 2013 when I participated in a seminar in South Africa. During the seminar, a group of artists from the U.S. and Africa spent three weeks studying the role art played in the post-apartheid reconciliation process. We witnessed how art can heal deep wounds and restore dignity to those who’ve had theirs stripped. The experience opened my eyes to the power of art and allowed me to witness how it can generate community-wide conversations on difficult topics. This experience caused me to rethink how I approach my work. It challenged me to look outside myself and find ways art can contribute to the betterment of society.
And your most current work. How do these past projects inform what you’re working on now?
I continue to explore these themes but in different ways. Recently, I completed a series of digital collages based on Schubert’s "Die Winterreise" song cycle. Interpreting Schubert’s music brought a different set of challenges, but the theme of a displaced traveler on an unfinished journey is still present. I’ve realized two ongoing themes in my work are displacement and unending journey. I think this is directly related to a Christian’s displaced status in this world and the theological idea of the "already/not yet." We exist in the liminal space between the present world and the world to come. My work aims to navigate and better understand this space.
You can learn more about the "Out of the Depths" exhibition at www.outofthedepthsexhibition.com and see Joe’s recent work at www.joecory.com.
Elegy no. I
Digitally Altered Collage of Found Materials
19” x 25”, 2017
Edition of 10
Courtesy of the artist.
Elegy no. V
Digitally Altered Collage of Found Materials
15” x 19”, 2017
Edition of 10
Courtesy of the artist.
Winter’s Journey no. 8 (Backwards Glance)
Digital Projection
Size Variable, 2018
Courtesy of the artist
Digitally Altered Collage of Found Materials
19” x 25”, 2017
Edition of 10
Courtesy of the artist.
Elegy no. V
Digitally Altered Collage of Found Materials
15” x 19”, 2017
Edition of 10
Courtesy of the artist.
Winter’s Journey no. 8 (Backwards Glance)
Digital Projection
Size Variable, 2018
Courtesy of the artist