My work explores the intersection of faith, memory, and identity through a theopoetic lens—where theology is not illustrated, but embodied through material, process, and form. Rooted in the biblical understanding of faith as “the assurance of things hoped for, the conviction of things not seen” (Hebrews 11:1), my practice engages scripture as a living, layered narrative rather than a distant historical text.

I work across two interconnected bodies of work: one shaped by my experience as a Cuban immigrant, the other centered on biblical themes. Though they may appear distinct, both arise from the same impulse—to make visible what is often hidden: loss and providence, exile and belonging, revelation and concealment. Personal history, particularly migration and familial separation, informs how I understand scripture, while faith reframes how I interpret memory.

Material choice is central to my process. I combine historically resonant media—cyanotype, encaustic wax, gold leaf, printmaking—with contemporary tools such as digital manipulation, laser cutting, projection, and UV-reactive elements. These layered processes function as visual metaphors: wax preserves and obscures, light reveals and transforms, gold signifies restoration and divine presence. I often appropriate and recontextualize historical religious imagery, not to replicate tradition, but to question how sacred narratives are seen, misread, or flattened over time.

Each work begins with guiding theological and existential questions rather than fixed conclusions. I allow space for intuition, spiritual reflection, and material resistance to shape the outcome. The resulting works are intended as visual meditations—sites of encounter rather than explanation—inviting viewers to slow down, look closely, and consider their own relationship to faith, history, and meaning.

Ultimately, my practice seeks to bridge the ancient and the contemporary, affirming that while scripture was not written to us, it remains deeply written for us.

Luke 13:23–25 confronts the listener with urgency and intention. When Jesus speaks of the narrow door, He is not describing exclusion for its own sake, but calling for a decisive response to truth. The passage challenges complacency and familiarity, reminding us that proximity to faith is not the same as surrender to it. This Scripture directly informs my oil painting Narrow Door, both conceptually and spiritually. The original photograph used as reference for this work was taken by me during a mission trip to Cuba in 2003. The man depicted lived in isolation and kept largely to himself. When our bus unexpectedly broke down, circumstance created space for conversation. We spent time talking, sharing the hope of the resurrection and the promise of new life in Christ. By the end of our visit, he accepted Jesus as his Lord and Savior. While the photograph served only as a visual reference, the painting seeks to convey something deeper—the quiet but profound transformation that followed. His countenance changed in a way that was subtle, yet unmistakable, and it is that moment of spiritual decision that the painting holds. Habakkuk 2:2–3 frames how I understand both that encounter and my calling as an artist: “Write the vision; make it plain… For the vision is yet for the appointed time.” This verse was given to me when God called me to return to school and pursue my degree later in life. It continues to anchor my practice in obedience, patience, and trust in God’s timing. At the heart of my work is 1 Peter 3:15—being ready to give an answer for the hope within me, with gentleness and reverence. My art is an act of witness, not persuasion, seeking to create space for encounter and reflection. Narrow Door embodies this calling, bearing testimony to

I would like to acknowledge my thesis chair, Professor Jeff Garland, at Georgia Southern University, for his guidance and mentorship throughout the development of my MFA thesis. The written responses in this application draw in part from research and reflections developed in that thesis, completed under his supervision. All interpretations, statements, and artwork presented here are my own.

The purchase price of this painting is $3,500 USD. It is available for purchase through my website at the following direct link: https://www.exnihilogallery.org/elisealeman/p/narrow-door-luke-1323
. Shipping costs are the responsibility of the buyer and vary depending on location.

I sell original artwork locally in Savannah, Georgia, and online through my website: https://www.exnihilogallery.org/
. Inquiries regarding available works, pricing, or commissions may be made through the website.