Participants: Shelley Quinn (Host), Nathan Greene
Series Code: TDY
Program Code: TDY016081A
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00:01 I want to spend my life
00:07 Mending broken people 00:12 I want to spend my life 00:18 Removing pain 00:23 Lord let my words 00:30 Heal a heart that hurts 00:34 I want to spend my life 00:40 Mending broken people 00:45 I want to spend my life 00:51 Mending broken people 01:07 Hello, and welcome once again to 3ABN today. 01:10 We're so glad that you are taking this time 01:13 to share with us, 01:15 and we have a special and unique program today. 01:18 I think you can tell by the background behind me 01:21 that this is going to be something 01:23 a little bit different. 01:24 Before we begin, I want to read a scripture to you if I may, 01:29 because this will let you know where we're going. 01:32 This is Exodus 31, and I'll begin with verse 1, 01:36 it says, "Then the Lord spoke to Moses, saying, 01:39 "See, I have called by name Bezalel the son of Uri, 01:43 the son of Hur, and of the tribe of Judah. 01:46 And I have filled him with the Spirit of God, 01:49 in wisdom, in understanding, in knowledge, 01:53 and in all manner of workmanship, 01:56 to design artistic works, 01:59 to work in gold, silver and bronze, 02:01 in cutting jewels for setting, in carving wood, 02:05 and to work in all manner of workmanship." 02:09 When God called Bezalel he called him to... 02:14 He called him for the glory of the Lord 02:18 to create artistic works for the tabernacle. 02:22 And He filled him with His Holy Spirit, 02:26 so that God would be glorified through his work. 02:28 We can sometimes preach with words, 02:32 we can, somebody can give a sermon in a song, 02:36 but sometimes people give sermons 02:39 through out their artistic works, and that is who 02:42 we're going to be interviewing today is Nathan Greene. 02:46 And, Nathan, just thank you so much... 02:48 Thank you. For being here. 02:50 It is exciting, 02:52 I have admired you for so many years 02:55 before I got to meet you at an ASI, 02:57 I remember I had met you the first time. 02:59 I remember. 03:01 And I'm impressed by your memory then as well, 03:04 but it is such an honor to have you here. 03:08 Thank you. 03:09 Because God has given you such a gift 03:11 but you use it for His glory. 03:14 Thank you. 03:15 How long have you been painting? 03:16 Well it's officially about 32 years 03:19 as a professional artist illustrator 03:21 but to be honest with you, 03:22 I started when I was four or five years old. 03:25 Yes. 03:26 So it's like many things, you know, 03:28 if you're musician it's a big advantage to start young. 03:30 Amen. 03:32 And the same with art work. Amen. 03:33 But we're very excited to see some of the new pieces. 03:36 We're gonna be talking about some of your pieces today, 03:39 but first we have a music selection 03:43 by another of our favorite sons here at 3ABN 03:47 and that's Reggie Smith 03:48 and he is going to be singing, Gethsemane. 04:06 All the way from Heaven's splendor 04:12 Robed in flesh born in a manger 04:18 Jesus came to set 04:22 sin's captives free 04:28 "Father, not my will 04:33 but Thine be done" 04:36 Was the prayer He prayed 04:39 God's only Son 04:42 So He drank the bitter cup 04:47 for you and me 04:53 He suffered Gethsemane 04:59 Through blood, sweat, and tears 05:05 Each drop of blood 05:08 He shed Bought me 05:12 a million years 05:17 God's crowning Sacrifice 05:24 His spotless Lamb 05:30 Now risen from the grave 05:35 He is the great I AM. 05:45 All alone, 05:47 He felt forsaken In the garden, 05:53 His heart was breaking 05:58 Yet He chose to die on Calvary 06:08 Jesus, blessed Savior 06:13 and Redeemer All to Him, 06:19 I now surrender Could I do less 06:25 after all He's done for me? 06:33 He suffered Gethsemane 06:38 Through blood, sweat, and tears 06:44 Each drop of blood He shed 06:49 Bought me a million years 06:56 God's crowning Sacrifice 07:03 His spotless Lamb 07:09 Now risen from the grave 07:15 He is the great I AM 07:24 He could have left us to die 07:29 in our sin Alone, 07:32 forever lost 07:35 But grace would change 07:39 how the story ends 07:42 Jesus' blood would pay the cost 07:54 For He suffered Gethsemane 07:58 Through blood, sweat, and tears 08:02 Each drop of blood 08:06 he shed Bought me 08:09 a million years 08:14 God's crowning Sacrifice 08:22 His spotless Lamb 08:27 Now risen from the grave 08:32 He is the great I AM 08:40 God's crowning Sacrifice 08:46 His spotless Lamb 08:54 Now risen from the grave 08:59 He is the great I AM 09:06 Now risen from the grave 09:12 Jesus is the great 09:16 I AM 09:29 Amen. 09:44 Such a beautiful song 09:46 that comes from the Calvary Project, 09:48 Calvary Love Found a Way. 09:50 And we always enjoy our dear brother Reggie Smith 09:53 who sings with such sincerity. 09:57 If you're joining us just a little late, 09:59 our special guest today is, 10:02 I know he will blush if I say he is famous, 10:05 but certainly his works are famous. 10:07 If you don't know his face and his name, 10:10 you will certainly recognize his works 10:13 because he is renowned artist, 10:15 a spirit filled artist who gives God all the glory, 10:19 and I'm speaking of Nathan Greene. 10:21 Nathan, we're so glad you're here today. 10:23 And we want to get before we look at, 10:28 take a closer look at some of your new works, 10:30 we would like to get to know you a little bit better. 10:34 You said that from childhood you wanted to, 10:37 you enjoyed arts, you enjoyed drawing, 10:40 but how did you actually know 10:44 that this was going to be your life's path? 10:47 Well, I didn't know for sure as I was growing up, 10:50 but I always, I love to draw, I love to paint. 10:52 My mother did landscape painting as a hobby, 10:55 and so that just fascinated me to watch her work 10:58 and to smell the oil paints and linseed oil and everything, 11:00 it just was very appealing. 11:02 But as I was growing up, I also wanted to be a doctor, 11:04 you know, and so I had this kind of dual track of interest. 11:08 But when I was 17, 11:10 I was a student at Cedar Lake Academy in Michigan. 11:13 And someone came to the academy to visit 11:17 and they knew Harry Anderson, 11:19 who is a very well known Christian artist 11:21 and Seventh-day Adventist artist. 11:24 And they thought I might make a good apprentice 11:25 for Harry Anderson. 11:27 And so they flew myself 11:28 and my art teacher Tom Turner out to meet him. 11:31 He lived in Connecticut at the time. 11:33 And the idea of being apprentice 11:34 never developed but we became good friends. 11:37 And he gave me some wonderful advice that day we visited. 11:40 But the next day when I came back to the academy, 11:43 I was sitting on campus outdoors 11:45 with the friend of mine 11:46 telling him about my experience, 11:48 and I found myself with this 11:51 overwhelming feeling of God's spirit surrounding me. 11:53 Amen. 11:55 It was an incredible feeling 11:56 and I found myself telling my friend, 11:59 I don't know what it is about my experience 12:01 of meeting the Andersons but I have the feeling 12:04 it has something to do with my future. 12:05 And in many ways as time would tell it definitely did. 12:11 So did you launch immediately, 12:14 I mean, how does one begin in art career, 12:17 because some of these paintings take quite a while 12:22 through the research and just the actual mechanics 12:25 of putting a picture together. 12:27 Were you commissioned early on 12:30 or how did you actually get started down the road 12:32 know that, not only could you bring God glory 12:35 but you could feed... 12:36 You feed yourself. Yeah. 12:38 Well, yeah, and the whole thought of well, 12:40 I need to feed myself, I want to have a family 12:42 and I need to make a living and, you know, 12:45 everybody knows that being an artist 12:46 is not an easy path financially necessarily. 12:49 So I actually was a pre med student in college 12:52 thinking maybe I'll be a doctor or a medical illustrator, 12:54 but I went to the American Academy 12:56 of Art in Chicago, 12:57 just visited there on a lot kind of. 13:00 And discover this, this wonderful school 13:03 is still taught traditional skills. 13:05 And when I met there with president of American Academy, 13:07 we were going through my portfolio, 13:09 I looked up on the wall behind his desk, 13:10 and there is an illustration by Harry Anderson. 13:14 And to me it was almost like God was telling me, 13:17 yeah, this is where I wanted to be, you know, 13:19 and we ended up discussing Harry, 13:21 and the path he chose to become a Christian artist. 13:25 And again I realize I was telling the president 13:27 of the academy, I think I might take a similar path. 13:30 And so, so I studied there for couple of years. 13:33 I started as an illustrator in Chicago, 13:36 carrying my portfolio around. 13:37 I actually went freelance right from the start, 13:41 because some of my friends who worked in studios 13:43 in Chicago burned out very fast. 13:46 They don't treat them very well in the beginning. 13:48 So for the first maybe eight to ten years, 13:52 I did a lot of book and magazine illustrations 13:54 for many published series 13:56 that people would probably recognize, you know, 13:58 World Book Encyclopedia, 14:00 Billy Graham Christianity Today, 14:02 Tyndale House, Focus on the Family, you know, 14:06 I went out to the east coast 14:08 and work for NASA and National Wildlife, 14:10 Ranger Rick magazine was one of my favorite. 14:12 Yes, yes. 14:13 And so that's really how I got started 14:15 as an illustrator where I knew 14:17 I was going to get a paycheck. 14:19 But there did come a time where I realized 14:21 I wanted to do some more substantial paintings 14:24 that would last more than the length of a magazine, 14:27 you know, which is here today and in the garbage next month. 14:30 And so I was actually, 14:32 I called up my mile long prayer, 14:33 I was out running one day which I do a lot more then, 14:36 I still run a little bit but I'm getting old so, 14:40 but I was praying that God would give me the opportunity 14:43 to do more permanent larger oil paintings 14:46 'cause I felt like I had the ability now 14:48 and just needed the opportunity 14:51 and it wasn't but a few months later 14:53 that I got a call from Versacare Corporation who own 14:56 several Adventist hospitals at the time, 14:58 one in Hialeah, one in California. 15:01 And they said, "We called Harry Anderson 15:02 about doing two paintings for us." 15:04 And he says, "Well, I'm retired, 15:06 but here is Nathan Greene's phone number, 15:07 call him he'll do the job for you." 15:10 And those two paintings 15:11 were Chief of the Medical Staff, 15:13 a painting of Christ guiding the surgeon's hand. 15:15 And other painting called the Family of God 15:17 which just shows Christ holding the little girl 15:19 and He's surrounded by people from all over the world. 15:22 And once those paintings were published in a magazine, 15:26 my career changed almost overnight, 15:29 then I started getting request from, you know, 15:31 big institutions, hospitals, and universities 15:35 to do large paintings. 15:37 And so that's pretty much what I've done since. 15:39 I still do a few book covers 15:41 and rarely magazine illustrations, 15:45 but mostly large traditional oil paintings. 15:48 And your paintings are I know 15:49 at the General Conference 15:51 of the Seventh-day Adventist church and hospital. 15:53 You also have, I've got one of a print of course, 15:58 I've got the one of Mary at His feet. 16:01 Yeah, at Jesus' feet. 16:02 Yes, and I just love that picture. 16:05 When people walk into our house 16:06 is one of the first things people comment on. 16:08 Yeah. 16:10 So you were already married before you launched out. 16:15 How did your wife feel about you switching, 16:19 of course, if you're doing freelance I guess she felt that 16:22 you were wise enough to know or that if it's not going well, 16:26 you can go back to that. 16:27 But was your wife supportive of your career choice? 16:30 Actually she supported me. 16:33 My wife is a dietician, registered dietitian 16:36 and we got married, 16:38 she had one more year of schooling 16:39 for that at Andrews University. 16:42 And then we moved to Chicago, 16:43 it was a good place to start my career. 16:45 She was a dietitian for Hinsdale Hospital. 16:47 Yes. 16:48 And so when I have young art students, 16:50 they ask me, how did you get started? 16:52 One of the first things I tell them, 16:54 marry a spouse that's gonna support you for few years 16:57 'cause that helps a lot. 17:00 You know, I've never really lacked for work, 17:02 I think it was only one, two week period 17:04 where I didn't have any work to do and that was early on. 17:07 But financially it's not an easy path 17:09 and it takes a long, long times to turn that square snowball 17:12 into a round snowball, you know. 17:14 And I would imagine doesn't it take, you know I wanted... 17:18 There are so many questions in my mind 17:19 that I want to ask you about your inspiration 17:22 for all these different projects and things, 17:24 but when you're first beginning, 17:26 did you know if you are creating 17:29 a large picture by commission, 17:31 did you have any idea how many hours 17:33 would actually be in that to know how to price even? 17:39 Yeah, in the beginning like those first two 17:41 from that were passed on from Harry Anderson, 17:44 I didn't really know how to price them 17:46 and prices sometimes are based on precedent set 17:49 before so I just guessed how much time I would need 17:53 and how much money would be required, 17:55 but it's ever been easy, I always underestimate 17:57 how long some thing is going to take. 17:59 I have a friend, a good friend Lars Justinen 18:02 who is another Adventist illustrator 18:04 who you've probably had here before. 18:06 And he and I laugh about this 18:08 because he has told me that he never likes to spend 18:11 more than maybe four, five days on a piece of art, 18:14 because they were driving crazy. 18:16 Somehow I tend to gravitate 18:17 towards these long complex scenes. 18:21 And it does get tedious 18:23 but I like it, I like the research, 18:25 I like to have something that's it's really gonna be 18:28 long lasting and complex, and really draw the viewer in. 18:32 Okay, so talk about research 18:33 because this is something people don't realize 18:36 that each project you have to do a lot of research 18:40 if you're going to make this look very realistic. 18:42 Yes, I should say I don't have to but I want to 18:45 because I believe people will recognize 18:49 if things were not authentic and not real and believable. 18:52 And so like for the painting behind us here, 18:55 this is a painting called "The New Birth of Freedom." 18:57 It represents Abraham Lincoln entering Richmond 19:00 just maybe 36 hours 19:02 after the confederate government fled, 19:04 and Robert E. Lee's army fled. 19:07 The town was still on fire, 19:08 it was very dramatic moment really. 19:11 And what was really special about this moment 19:14 was that there were group of nearly freed slaves 19:18 working down by the James River 19:19 when they recognized Abraham Lincoln, 19:21 they started flocking around and within minutes 19:24 there were hundreds and then thousands of them 19:25 celebrating and thanking him for his role in their freedom. 19:30 But I knew that there would be historians 19:32 who would look at this, and if it's not real 19:35 and believable and well researched, 19:37 it could just be a figment of my imagination, 19:40 I didn't want that, I wanted to be authentic. 19:42 So I went to Richmond, I did research, 19:44 I interviewed a lot of people, I even, you know, 19:46 looked at the church steeples that are still there, 19:49 that you know, what color are they? 19:51 And then I have people that I consult with, 19:54 you know, people in the movie industry, 19:56 people that are reenactors 19:57 that know what is authentic and historians. 20:00 So I actually had costumes made 20:02 to fit the different navel officers. 20:05 I bought a Sharps and Hankins navy carbine 20:08 with leather covered barrels then you know, let's say, 20:10 they were issued on the admiral porter's flagship, 20:14 hence I had to buy an original 20:15 because there were no reproductions of it, 20:17 you know. 20:18 And so I went all out to make it authentic. 20:22 I don't want a historian looking at my painting 20:24 and saying, this guy didn't know what he was doing, 20:26 I don't want them to... 20:27 I think that's very special because I think most people 20:29 think that artist just sit down and start and some do... 20:32 From their imagination. 20:33 Yeah. Yeah. 20:35 You know, if you're Picasso nobody ever would 20:36 what you've said, what you're trying to say, all right. 20:38 Depends on the genre of art but there is certainly 20:39 is that type of art where you don't have to do 20:42 the research but what I've become 20:45 known for requires a great deal of realism and research. 20:48 And I think that's why your works are so popular 20:51 it's because they speak to people 20:52 and there is that authenticity in them. 20:56 Now for a picture like this, what is this, 8 feet by... 21:01 This is a reproduction. 21:02 It's almost as large as original. 21:03 The original was about 8 or 8.5 feet long. 21:07 This is a little bit, maybe a foot 21:08 or foot and a half shorter. 21:09 Okay. Yep, you were going to ask? 21:11 I was just going to ask for something 21:13 like this about how long did it take 21:17 to do this marvelous painting? 21:19 Because of the, all the research involved, 21:21 it took more than year. 21:23 The actual painting time was approximately nine months, 21:25 but the research and photography of models, 21:28 all the models are photographed individually in my studio. 21:31 And just finding models takes time, you know. 21:34 And I... 21:36 It's kind of like typecasting a movie set 21:38 where you're looking for characters 21:39 that fit a certain, you know, 21:41 image of my mind of how they should look. 21:44 For one thing they, everybody was pretty lean at the time, 21:47 this is near the end of the war 1865, 21:49 there were food shortages in the south, 21:51 so I had to find people that looked lean enough 21:55 to be appropriate for the time. 21:57 That's interesting. 21:58 Was this painting commissioned or... 22:00 It was commissioned by a good friend Brad Colson 22:03 from Washington State. 22:05 He has also commissioned 22:06 several other American history pieces. 22:08 Okay. 22:09 And you might wonder why and I'm known as an artist 22:13 who does portraits of Jesus primarily. 22:15 Absolutely. 22:17 And why would I launch off into American history. 22:20 And there is multiple reasons just happens 22:23 that for years as I work, 22:24 I listen to books on tape or CD, 22:27 and most of those books are history, 22:29 'cause I've always loved to study history. 22:32 And some are biographies, 22:33 I've been going through biographies 22:35 of various presidents for last several years. 22:38 But I wanted to do, I really think it's important 22:40 to feature people in art nation's history 22:44 who demonstrated the character of Christ and their actions, 22:47 and how they dealt with that situation 22:49 through rough times that they went through. 22:51 Abraham Lincoln, I think is a special example of that. 22:55 He was human like we all are, 22:57 but I think he truly was a great man. 23:00 And I think that as the war went on, 23:02 he became more and more deeply spiritual 23:06 and realize 23:08 that until they fully address the issue of slavery, 23:11 they would not have the victory and the war would not be over. 23:14 And he also realize 23:16 as he put it the hand of providence 23:18 in the events of the day. 23:20 And I think it's important to have a president 23:22 that recognizes those issues. 23:24 Absolutely. 23:25 And so, some people would like to tear it down, 23:29 you know, American heroes 23:30 and make them just as, 23:33 you know, bad as all, everyone else, 23:35 and I think it's important one that is a good example 23:38 to hold them up as a good example, 23:40 and to set them up as a goal that we should all strive 23:44 for that kind of character and integrity. 23:46 Absolutely. 23:47 Well, let's go, 23:49 our time is almost half way gone. 23:51 I can't believe this. 23:53 I'd like to go through some of the paintings 23:56 and we'll talk about, 23:57 you have a couple of new ones here 23:59 or several new ones. 24:00 But I think what was the first painting, 24:04 first of all, the very first 24:06 were the ones for the medical out for Loma Linda. 24:09 But what was the first picture then 24:12 that you become famous for? 24:16 When did that happen and how did it happen? 24:19 Well, I think of the Chief of the Medical Staff 24:21 one of Christ guiding the surgeon's hand 24:24 had to be that 24:25 and probably still is the one that's been most published 24:28 and I get most feedback from. 24:30 It was originally done just to encourage surgeons 24:32 in a surgeon's lounge at Hialeah Hospital 24:35 to remember Christ by their side, 24:37 but it very rapidly became something 24:39 that patients were really encouraged by. 24:43 For a number of years, 24:44 Florida Hospital was giving a postcard of that painting 24:47 to each of their surgical patients 24:49 as the went into surgery 24:50 and many wonderful stories have come from that 24:53 'cause they're comforting to them just to see that, 24:56 so I think like I mentioned early 24:58 once that was published 25:00 that led to many other opportunities. 25:03 And occasionally 25:04 the opportunity to just create paintings 25:06 that I wanted to create, 25:08 so I told the publisher once, 25:09 you know, my father-in-law is a sheep farmer 25:12 and he raises black... 25:13 Well, Suffolk sheep that are little beautiful 25:15 cute little black lambs when they're born. 25:18 And I always see paintings of sheep or shepherd, 25:20 Christ as a shepherd with a white lamb 25:22 which is wonderful and it has symbolism of its own. 25:26 But the symbolism of the black sheep, 25:27 why don't we do some paintings like that? 25:29 So my publisher said well, let's do it, 25:31 we'll finance them. 25:32 And that led to a series the Lamb of God. 25:35 Yeah, I've noticed on your set, 25:37 the Lamb of God has been here for a number of years. 25:39 Absolutely, I love this picture. 25:41 It's probably our most popular print, 25:44 because I think a lot of people are reminded 25:47 of Christ love for everyone, 25:49 even though instead feel like they don't deserve it, 25:51 you know, like they've left and they've... 25:53 And I think that there is more people 25:54 who identify with the black sheep 25:56 than being with the white sheep. 25:57 Yeah, I think so, I'm sure. That's very beautiful. 26:00 I think the Lamb of God is one of my favorite pictures. 26:04 I could say that probably 26:05 we'll have everything you've done 26:06 but I always thought that you only worked in oils 26:12 and you've actually done a number of water colors. 26:16 You said you prefer water color, 26:18 why? I do. 26:19 When I left art school, 26:21 I think that's the medium that I felt the most in control of 26:24 because that's the one I used most in art school. 26:27 And so when I get... You saw him forgiving? 26:29 Yeah, it's very unpredictable 26:32 and I compare it to painting by the seat-of-the-pants, 26:35 you don't know if you could have a disaster 26:37 that would ruin the painting. 26:38 But it makes a kind of fun to, you know, 26:41 but there is also what we call happy accidents, 26:43 sometimes things happen water color with, you know, 26:46 pigment and water pulling and mixing and stuff 26:48 that can be really beautiful when they work well. 26:51 So, and I think it's just fun and it's faster, 26:54 it's a pretty quick technique. 26:56 I can do a water color painting in a week 26:57 or an oil painting might take me three months. 26:59 You know. Okay. 27:00 So that's another advantage, it's just fun. 27:03 One of the reason I brought that up is 27:04 because you've got a number... 27:06 Now, the Lamb of God's such a beautiful, picture 27:08 but you also have one called the Rescue 27:10 that is a water color. 27:12 Yes. 27:13 And you brought picture of that today. 27:14 Where do you get your inspiration for these? 27:18 Well, the lamb series as I mentioned 27:21 from my father-in-law's sheep farm 27:23 started that series and once the Lamb of God 27:25 was published and seemed very popular, 27:27 we went on and did another series. 27:30 But the inspiration, 27:32 I mean there is many ways to answer that 27:33 but the primary one is through reading scripture. 27:35 Amen. 27:36 And when I go through the gospels especially, 27:38 and I read some of the parables that Christ told. 27:41 As an artist and I think everybody does this, 27:43 we picture scenes in our mind as we read. 27:46 And I think it's just a way 27:48 we operate our hands work that way. 27:50 I like to think about how would I portrait that scene 27:53 that I'm imagining. 27:54 Sometimes I imagine it from different angles 27:56 and then I have to choose which would be the best scene. 27:59 So do you do a lot of praying when you're doing, 28:01 when you've been commissioned to do a work? 28:03 I do, I mean, 28:04 I always start a painting that way for one thing, 28:07 but the greatest amount of praying occurs 28:10 when I'm struggling. 28:11 Sure. 28:13 Which is human nature again too, 28:14 but there have been times when I've painted especially 28:17 when it comes to painting the face of Christ, 28:19 because most other aspects of the painting 28:22 I don't struggle with, but painting the face of Christ 28:25 is really the focal point of every painting. 28:27 And if that's not right, then the whole painting can... 28:30 But also you're trying to represent 28:32 not just a human model, you're trying to represent 28:36 a loving, compassionate, caring, 28:39 divine being not just a human, so. 28:42 Well, Nathan, God has gifted you in that 28:44 because every picture, that every painting 28:47 that you've done with Christ and we hear it every time 28:51 where somewhere your works are on display or 28:53 when people come into our home and see the panting itself. 28:57 People are always just, 28:59 it's like they say you're so drawn to him. 29:02 You know, you're drawn to Christ 29:04 because you get, there is love, 29:07 there is an expression of love in his face. 29:12 And a lot of women want to know who the model is too, 29:16 so he's a good looking Jesus. 29:20 Now let's go through a few of the others, 29:23 because I don't want to run out of time, 29:24 I want to get to your new ones. 29:26 But Jesus Light of the World 29:28 is also something that has been a very famous. 29:31 And I'm sure our viewers have seen 29:33 this picture in many, many places. 29:37 This one, did you do this together 29:39 with the Ever Interceding as the series? 29:41 Yeah, those two well, I've had a desire as well. 29:45 I mentioned Lars Justinen and I think he also has 29:47 this desire to create new art for evangelism for the church. 29:50 Yes. 29:51 And because so much of it's dated from 29:53 you know, 30, 40, 50, years ago. 29:55 So these two were done together, 29:57 there are an oil wash mixed media technique. 30:01 And I wanted to like the one Who Lighted the World, 30:04 that started out with an idea of just showing 30:06 Christ with a lamp, 30:08 like Herodian lamp with one flame, 30:10 and I pose the model for that 30:12 but it just wasn't dramatic enough so... 30:14 Let's bring that if I get to group to 30:17 in the control room to bring that picture back up 30:19 one more time Who Lighted the World. 30:20 So instead of that my, Danny Houghton, 30:24 the son of my agent Dan Houghton, 30:26 he suggested why not have just intense bright light 30:29 coming from his hand. 30:30 Yes. 30:32 And so I did that, I was actually to be honest 30:33 I was little concern that some people might think 30:35 that looks too supernatural or too new agey or something. 30:38 And Mark Finley hearing that concern he said, 30:40 no there is a verse in Habakkuk that describes that very thing, 30:43 light rays coming from his hands. 30:45 Yes. 30:46 And so now that's the scripture 30:47 we have on the back of the repose card 30:49 of that picture. 30:50 Wonderful. 30:52 And the one Ever Interceding 30:53 actually was inspired by my agent 30:55 taking trip to Brazil. 30:57 And he saw a little black and white 30:59 drawing for a Bible study that somebody has done it, 31:01 it was a very amateur strong hesat 31:02 but the idea of showing Christ prostrate, 31:05 praying over the earth, that scene he saw had 31:07 the three crosses behind, but he said 31:09 if you could do something like that 31:10 in more sophisticated version, 31:12 that would be wonderful, 31:14 and that led to ever interceding. 31:15 Well, that's beautiful. 31:17 Now Reaping the Harvest, 31:19 this is another one of your water colors. 31:21 Yes. And this is so realistic. 31:27 You've obviously mastered this medium 31:29 in an incredible fashion, but... 31:32 This was actually a book cover for Russell Burrill 31:35 called Reaping the Harvest 31:37 about church growth and church planting. 31:39 And yeah, it was a water color. 31:41 Now water colors can be approached in many ways. 31:44 I was taught to do it in a much looser or 31:47 more impressionistic way, but when I left art school, 31:50 I figured the rules were meant to be broken, 31:52 so I tend to paint, I tend to gravitate 31:55 more towards detail, 31:57 but I have great admiration for artists 32:00 who can paint in a more loose painterly way as well. 32:02 I was saying and I have great admiration 32:04 for people who can put that detail in 32:05 because it makes it come alive. 32:07 It was actually Norman Rockwell that I read one of his books 32:10 where he one that he wrote himself 32:13 where he described details being an important element 32:15 that often we leave out, 32:17 but that's a texture of life, and so it's important. 32:21 Yes, it's beautiful. 32:22 So then another one that, does Light over Bethlehem, 32:25 does that, they kind of go together, 32:27 they're both water colors? 32:28 Yeah, this is not part of the original four series 32:31 of the Black Lamb, 32:32 but I wanted to do some Christmas scenes 32:35 and so this is a shepherd boy holding a lamb, 32:38 and this too was a water color. 32:40 Yeah. That's beautiful. 32:43 Now the next one that we want to show 32:46 is something that when I saw, the first time I saw, 32:50 I just told my husband I have to have this, 32:52 because he always calls me his Mary that 32:55 I'm at the feet of Jesus 32:56 and this one is called At His Feet. 32:58 Yes. Beautiful oil painting. 33:01 And it's something that is even... 33:05 For some reason it's more spectacular, 33:07 everything is more spectacular once they're framed, 33:09 aren't they? 33:10 Yeah, that's true. But it's such... 33:13 His face is so amazing. 33:16 Now do you, your models, 33:18 do they sit for you for hours or 33:21 how to you go about 33:22 when you're composing a picture? 33:26 What do you paint from? 33:27 Well, I actually take photography 33:29 of each model individually 33:31 and I may take 100 or more shots of each model, 33:34 you know, for each pose, 33:36 and choose the best elements for each one. 33:39 The days of painting on live models 33:41 for me in a way it's very hard to get over it... 33:44 It's very hard to get people to pose for days on end. 33:48 But one thing the model for Jesus 33:50 is extremely expensive, 33:51 so it would be cost prohibitive. 33:53 But now I do photography for the second coming painting 33:58 for example, I had over 13,000 photographs 34:01 that I took of all the various models. 34:04 And then I pick and choose the best elements of each. 34:06 For the one of Mary and Martha at the feet of Jesus, 34:11 that each, again each model is posed in my studio, 34:14 but the scene is created partially from imagination, 34:17 partly from research of what, you know, 34:20 houses in from that time period would be like. 34:22 I happen to live near Andrews University 34:24 where there are archaeologists, they're very helpful to me, 34:28 and so they allowed me to take checkout, 34:30 borrow 2,000 year old pottery and bring it to my studio, 34:34 to do photography of, 34:36 so that scene actually has cups, bowls, 34:39 the big water pot are from the time of Christ. 34:43 The dresses that Mary and Martha 34:45 are wearing are actually Bedouin dresses 34:46 purchased in Jordan by some of the archaeologists. 34:50 We don't know if they had that intricate embroidery back then. 34:54 There is no evidence of that, but I like the thought 34:57 that when Jesus came to visit Mary and Martha and Lazarus 35:00 that the ladies were to put on their very best. 35:02 Absolutely. 35:04 And plus it makes, 35:05 artistically it makes a beautiful painting. 35:06 And then you can get your detailing. 35:08 Yeah, exactly. 35:09 Now you've done a new one that 35:11 I've not yet seen but it's, is it a water color, 35:13 Women at the Well or it's another oil? 35:14 No, it's another oil. 35:16 This is called yeah, the Women at the Well and this, 35:19 the dress that the woman is wearing 35:21 is actually from Syria 35:22 brought back by one of the archaeologist. 35:25 And again I wanted to create a very realistic scene, 35:28 the well is from one that actually was 35:30 from Middle East. 35:32 By the way I haven't been there yet, 35:33 but my wife and I were about to go in 10 days 35:35 we're gonna leave. 35:37 Oh, you're gonna love it. Yeah. 35:38 You, as an artist you are going to... 35:40 I'm gonna tell you, you're gonna go 35:42 through the roof when you get there. 35:43 I can't wait. 35:44 It does seem like, you know, the artist who paint these 35:47 scenes of Bible lands and Bible times 35:49 should at least once in their lives go and see it, you know. 35:52 It's a life changing experience. 35:54 Yeah. Really it is, it is. 35:56 But both paintings, 35:58 the Women at the Well and At Jesus Feet 36:00 are kind of reflect my desire to do a series of paintings 36:05 featuring great women of the Bible. 36:07 And hopefully there will be time 36:08 to do that in the next coming 10 to 20 years. 36:13 Let's pray that Lord keeps you healthy. 36:16 How many hours a day can you work? 36:19 I don't think people realize 36:20 how physically demanding this is. 36:25 Yes, when I was younger, it was much easier. 36:28 I'm aging about, 36:30 I don't have quite the same energy levels 36:32 but I don't work very well in the morning, 36:35 so I really get going probably right after lunch. 36:39 I probably average eight hours a day, 36:42 but there are some days that I might work late 36:45 when the spirit moves me, you know. 36:47 I might finish it at midnight or 1 or 2 in the morning. 36:49 I'm trying not to do that 36:50 'cause I know it's not good for my health, 36:52 so trying to cut back on that, but... 36:54 I won't give you the sermon of 36:56 how every hour before midnight 36:57 there is worth 2 hours of sleep... 36:59 I know, I'm well aware of it. 37:01 But you know, it's hard, sometimes it's hard to get in 37:04 where artists call the zone. 37:05 Yeah. 37:06 And when you're in it, it's hard to leave it. 37:08 Absolutely. Yeah. 37:09 Well, I mean I do the same thing 37:10 when I'm writing so I understand completely. 37:12 So tell us about the one that is titled 37:16 For I was Thirsty. 37:17 Yes, For I was Thirsty is again it's a historic painting in it, 37:23 like I mentioned earlier my desire to show scenes from 37:27 American history that have people 37:30 who demonstrated the character of Christ and they're actual... 37:32 Now there is a sermon in this... 37:34 Yes. I think for certain. 37:35 This is based on a true story that occurred 37:38 at the first Battle of Fredericksburg. 37:41 A young 19 year old sergeant Richard Kirkland 37:43 from South Carolina, all night long he heard the cry 37:47 of the wounded on Marye Heights. 37:49 There was 8,000 killed or wounded union soldiers 37:52 on that hill, none of them got within four yards of the wall 37:55 that the confederates were behind. 37:57 And so the next morning he went to his 37:59 commanding officer and he said, 38:00 "Sir, I can't stand here, these poor fellows cry, 38:02 can I take them some water?" 38:04 And he said, "Well, you'll get a bullet 38:05 in your head if I let you go over the wall 38:06 and we can't call it truce 38:08 would send the wrong message." 38:09 And he said, "Well, I'm willing to take that chance." 38:11 And so he filled this, he had permission, 38:13 he filled as many canteens as he could hold. 38:15 And he went round and gave water to wounded. 38:19 Wow, that just makes my eyes tear up. 38:20 I know it's just an incredible story 38:22 and when the union sharp shooters realized 38:24 that he meant no harm what he was doing, 38:27 they ceasefire. 38:28 In fact one account read that they, they... 38:30 The whole federal army led out to cheer, 38:33 then the whole confederate army led out to cheer 38:35 and for an hour and half there is this unofficial truce 38:38 while this one man went back and forth 38:40 filling canteens and giving water. 38:42 Kirkland was killed at the Battle of Chickamauga 38:45 nine months later. 38:46 And just a incredible young man, 38:49 he just turned 20 at the time. 38:50 Oh, how precious. What a story. 38:53 So now take us through some of your Lincoln pictures 38:57 'cause you've got a whole series 38:58 that you were commissioned for this, 39:00 and I think the first one is called 39:01 Nowhere Else To Go. 39:02 Nowhere Else To Go is, it's one of Lincoln in prayer 39:08 and it was, there was only one time 39:11 that I could find where he stayed 39:12 in a military tent for multiple nights, 39:14 it was right after the Battle of Antietam 39:16 when he came to visit General McClellan 39:18 and try to encourage them to keep moving. 39:20 And I like to think about 39:22 what he might have been thinking, 39:24 what he might have done at the end of the day 39:26 of visiting the wounded 39:27 and seeing where the battle took place. 39:29 I mean Lincoln had great compassion 39:30 and I know it hurt him deeply to realize what was going on 39:35 and all the pain and suffering. 39:37 And he was seen on number of occasions 39:40 reading from the small soldier's pocket Bible 39:43 by his bodyguard. 39:44 His wife said he read the Bible every day, 39:47 every morning he started the day with that. 39:49 And so I like the thought, there is no record of 39:51 what he did that night. 39:52 When he came back to his tent, 39:53 the though that he might have prayed, 39:56 that he might have read from this little pocket Bible. 40:00 So I did two paintings of that, that same setting one called 40:04 Nowhere Else To Go and this one called In The Darkest Hour. 40:08 Lovely. 40:09 And then let's go through, I want to kind of 40:12 go through the New Birth of Freedom 40:15 rather quickly. 40:16 Sure. 40:18 So that we can get to some of the others before 40:19 we've only got like 10 minutes left so. 40:20 Oh, yeah. 40:22 So here the New Birth of Freedom 40:24 is the one we first began talking about, 40:26 also one of the Lincoln series. 40:28 And it's, you know, God has given you 40:33 a great masterate for light. 40:35 I have noticed that and that's what makes 40:38 paintings look so realistic is 40:40 when you can capture the light, and the shadows... 40:43 The great deal of what artist study 40:44 is the effect of light and shadow, 40:46 and different color, temperatures of light. 40:48 Yes. What time of day it was. 40:50 So this is called a New Birth of Freedom. 40:54 Now did you... When you... 40:56 I've note on my list here, we're going to talk about crops 40:59 A.B.C.D. 41:01 What are these smaller pictures of the same picture 41:06 or we just cropping it out? 41:07 Now these are close ups of the same painting 41:09 showing different scenes. 41:12 It's important to know, I mean, 41:14 we don't have time to go through all the details 41:15 but each of the officers that attended, 41:18 by the way this is my dog Peach Pit 41:20 who made a last minute. 41:21 I was reading an article about 41:23 Richmond at the time of the war 41:25 and some of the stories reflected dogs 41:28 that were in town. 41:29 And I thought well, 41:30 my dog is kind of a mix breed mutt so. 41:32 And so I put Peach Pit in there, 41:34 so she's famous now for that. 41:35 Amen. 41:37 But Lincoln traveled often with his son Tad. 41:41 And so that little boy beside Lincoln was Tad Lincoln. 41:44 He had 12 sailors to protect him 41:46 in an area that wasn't fully, 41:48 you know, under union control yet. 41:51 One of the account said that he... 41:53 If we can hold it on this scene right here, 41:55 Admiral David Dixon Porter 41:57 is the one that led Lincoln to Richmond. 41:59 But one account said that he stopped 42:01 and an older black man 42:03 who was with the group first met him 42:05 was the first one to come up and talk to him, 42:07 and he tipped his hat to Lincoln. 42:09 And then they said that 42:10 Lincoln stopped and tipped his hat back, 42:12 which may not sound like a big deal to us now 42:15 but at that time 42:16 for a white man to tip his hat to the black man 42:18 has almost unheard of and for the president to do it. 42:21 It said something about 42:23 Lincoln's character and his maturing 42:25 and his understanding of race relationships largely 42:28 because of his friendship with Frederick Douglass. 42:30 He had this great ability to keep growing 42:34 and understanding of these issues. 42:37 And so, and that black man that was tipping his hat, 42:40 he's a farmhand that I saw often driving a tractor 42:43 where I ran through the orchids everyday. 42:45 And finally got enough courage to ask him 42:47 if you'd model for me. 42:48 Wonderful. I think we... 42:50 Have we gone through all of those crops that we have? 42:52 We'll move on to The Blessed Hope... 42:54 Okay. 42:55 Which is a picture that we actually use a painting 42:57 that we've used on our Calvary Project. 43:00 Yes. 43:01 And this has been on our background, 43:02 and people love this picture. 43:04 Tell us about this one? 43:05 Well, for number of years, I knew sooner or later 43:09 I'd be asked to do a painting of the second coming 43:11 as an Adventist artist. 43:13 And one day I was walking through 43:15 hotel lobby at a ministerial conference 43:17 with Mark Finley, and I ask him, Mark, 43:19 if there is one thing I could do 43:21 as an Adventist artist 43:22 contribute something important to our church, 43:24 what would it be? 43:26 And without skipping a beat 43:27 he said a new painting of the second coming, 43:29 and so it was perhaps a year later that 43:33 the funding was found, a private funder. 43:35 And it took me about a year to paint. 43:38 It was done in time 43:39 for the General Conference session in Atlanta. 43:42 But there are several scenes in the painting 43:43 that I think are important to point out. 43:46 When I knew I had the opportunity 43:48 to paint a scene of the resurrection. 43:51 I have as many of us do friends, friendships, 43:55 people who have lost children, you know, 43:58 that I wanted to honor them and remind them 44:01 that death is not a permanent thing. 44:04 Yeah, so I think we got some crop pictures that we can, 44:07 okay so here is one that has a great story. 44:09 This family David and Carrie Grimond, 44:11 they were missionaries in Sierra Leone. 44:13 And their young daughter Christie became ill, 44:17 and so they brought her back to Michigan for treatment. 44:20 Turns out she had neuroblastoma, 44:22 and she struggled for little over year. 44:25 She passed away when she was four and a half 44:27 and we knew them and they're very dear friends 44:29 and Christie was just this bright, 44:30 wonderful, energetic little girl. 44:32 And I did a portrait of her two years later 44:35 for the family but then years later 44:37 when I was asked to do the second coming, 44:38 I thought, what a wonderful opportunity 44:40 to remind David and Carrie 44:42 they'll see their little girl again, 44:44 they'll have a chance to raise her 44:45 fully to adulthood, and so I put them in here 44:49 and that's Christie, David and Carrie. 44:51 And I think you have another one 44:53 on the next crop portion of the... 44:55 We also have another couple friends of ours 44:58 who had a miscarriage. 44:59 I think they might have had several miscarriages. 45:02 And I know this is a common thing, 45:03 many couples experience this. 45:05 My wife and I did, 45:06 our first pregnancy ended in miscarriage. 45:09 And I know how difficult it can be 45:11 because I witnessed it firsthand. 45:14 But again I wanted them to be reminded 45:17 that they may have a chance to raise that child again, 45:19 I think wouldn't that be just like 45:21 God to give couples that opportunity. 45:24 Amen. Amen. 45:25 That's just beautiful, 45:27 so let's bring that picture back up. 45:28 Oh, here. We've got to talk about this. 45:31 Yes, well, when I was posing all the models, 45:33 I was standing on the ladder to pose them 45:36 for a higher perspective. 45:37 I asked my wife to have some of the Korean mothers 45:41 from Andrews University area bring some children 45:43 so she asks his mother, she says, yes, I'll bring some, 45:45 how would you like? 45:46 How many would you like? She said, may be six. 45:48 So when they came there was may be six mothers 45:50 and about 24 children and most of the children 45:54 didn't speak Korean, you know, 45:55 probably their fathers are in the seminary, 45:57 you know, and they are just here for few years. 45:59 They didn't speak English? 46:01 No, and some of them did, but most of them didn't, 46:03 so I had a hard time communicating, 46:04 it was fun and exciting, 46:06 there is also little bit stressor 46:07 so at one point I thought, 46:08 well, let's take a break for a few minutes, you know, 46:10 so I had them all move to side. 46:13 And this one little girl just stayed in the middle 46:14 with the ribbon and just was spinning, 46:16 and twirling and looking so joyful 46:18 that I just stood on the ladder and just with my camera, 46:21 click, click, click, click. 46:22 And she turns out to be my favorite character 46:25 in the whole painting, so you'll notice that 46:27 I cleared at the space around here 46:28 so there is nobody overlapping her. 46:30 And she looked like pure joy and that's 46:32 what I think will feel and experience. 46:34 So okay, we saw the crop of her then. 46:37 Let's look at her once again in the full picture on 46:41 The Blessed Hope and then we'll see, 46:43 I wanted to see, I didn't notice how you had... 46:45 Yeah, now it's hard to see 46:46 because it's such a large painting. 46:48 She's up on the right up high in that group. 46:53 Okay. And yes, she's. 46:55 She's there by herself. 46:56 If she'd ever like to see the original it hangs 46:58 at the General Conference headquarters, 47:00 it's 8 feet wide, 5.5 feet tall. 47:02 That's amazing. Then that's an amazing thing. 47:05 So now let's talk about the two new ones, 47:08 other new ones that you have here in our studio, 47:12 because they are both, I just can't take 47:15 my eyes off this picture on the paralytic. 47:19 Yeah. Tell us about that one? 47:20 Now the paralytic of Bethesda, this isn't quite new 47:23 but I brought it for special reason 47:25 and I want to mention in a moment. 47:27 I did it perhaps seven, eight years ago 47:29 for Loma Linda Medical Center for their rehab hospital, 47:32 I think they call it the East Campus building. 47:34 It was a first of what I wanted for years to do a series 47:39 on the healing miracles of Christ. 47:41 Just recently, just this last year, you know, 47:43 Loma Linda Medical Center is building 47:45 an entirely new hospital. 47:47 And my dream has come true. 47:49 For 30 years I wanted to do a series of 47:51 the 12 healing miracles of Christ. 47:53 And they called me and they would like me to do 47:55 those 12 paintings for the new hospital. 47:58 So you've already got one down, eleven to go. 47:59 Yeah. 48:01 Well, this won't be included, there will be 12 others. 48:03 There are approximately 48:05 I believe 20 specifically mentioned. 48:08 I mean there is implications that there were 48:09 hundreds and thousands of miracles 48:11 but I chose 12 that I most wanted to paint. 48:14 Some of them are little similar and perhaps we've done it. 48:17 So it will take me almost nine years so between that 48:21 and a new commission to do the seven days of creation 48:26 and several more for a client in Prague, in Czech Republic. 48:30 I have about 22 commissions, 48:32 it will take me nine years to do. 48:34 That's amazing. So yeah. 48:35 But now I do know that this one is real 48:37 which is laying behind me. 48:38 That is new. I try to get out of the way. 48:41 This one is called the Resurrection. 48:43 And every one in this studio, it's behind me 48:46 but as we've been getting prepared, 48:49 everyone in this studio has said 48:51 they cannot take their eyes away from this. 48:54 It is astounding, and what, 48:56 how you were inspired to do this one? 49:00 Well, you now, again by reading 49:03 the biblical account of the resurrection. 49:07 I try to imagine and picture what it might have look like, 49:11 I've never seen a depiction of Christ 49:15 with an angel putting the cloak, 49:18 or and the tunic on Christ. 49:20 But it made perfect sense when the disciples, 49:23 when Mary came to the tomb and they saw two angels with 49:26 the linen that they wrap a body, 49:28 and I don't believe Jesus walked in town 49:30 wearing nothing that, you know, 49:32 and that could be supernaturally 49:34 this tunic and robe appeared but I like the idea that 49:37 the same angel that rolled the stone away from the tomb 49:41 would have put the robe on Christ, so. 49:44 That's a beautiful thought. 49:46 Thank you. Beautiful thought. 49:47 So I think it just adds drama, 49:49 you'll notice that that angel is of taller stature. 49:52 Christ came as the people were at the time 49:55 and probably didn't tower over every one. 49:57 But I think of angels as being powerful beings 50:01 and the thought that he might have been taller 50:03 made sense to me. 50:04 He's almost hovering, you don't see his feet there. 50:07 There are certain things that you might notice 50:09 unless you look closely that you don't see feet. 50:12 He's kind of there, just there. 50:15 But also it gave me an opportunity to 50:17 indulge in something I really enjoy. 50:19 I actually do enjoy the research part of everything 50:21 and striving for historical accuracy. 50:24 Well, anyone who is prepared to go to medical school 50:26 I knew, you would enjoy research. 50:29 Yeah, it's fun and much my wife Chagrin, 50:32 it caused a bit sometimes 50:34 to purchase costume and armor and helmets 50:36 but I discover that there are Roman reenactment groups 50:40 a number in Europe, France, Germany, England, 50:44 and there are several in United States that 50:46 do reenactment and they're obsessed with authenticity. 50:49 So I purchased helmets, and plate armor, 50:54 and chain mail, and wall clothing 50:57 and stuff that would be very authentic 50:58 for the Romans at the time. 51:00 We'll see once again if you could just see, 51:04 you just have to see these in person 51:06 because the lighting from the armor. 51:08 Yes. 51:09 The lighting from the fire, 51:11 this picture looks alive behind us. 51:13 It really does. Thank you. 51:15 It's just incredible. 51:16 And it must be so exciting to do what you're loving, 51:21 what you love to do but to know that God, 51:25 just like you said one of the physician 51:28 with the guiding hand, what is the name of that? 51:30 A Chief of the Medical Staff. 51:31 Chief of the Medical Staff. Yeah. 51:33 To know that the work the Lord inspires you to do 51:39 is touching so many people's lives in bringing comfort, 51:43 bringing hope, how exciting is that? 51:46 Do I have time to tell you a story about 51:47 Chief of the Medical Staff? Sure. 51:49 Because that like I mentioned before, 51:51 we probably get more feedback from that than the other but, 51:54 there are several that I particularly like 51:56 but one especially there is a couple, 51:59 she was a Christian, he was an non-believer. 52:02 She had prayed for him for years. 52:04 And they were visiting Disney world in Florida. 52:07 And he had a heart attack. 52:09 And so they rushed him to Celebration Health 52:11 which is a Florida Hospital, 52:12 Disney collaboration near the town of Celebration. 52:15 And as they were taking him in, 52:17 someone showed him a card with Chief of the Medical Staff, 52:21 Christ God and the surgeon on it. 52:23 He went in for bypass surgery, a quadruple bypass surgery 52:27 and he survived and in the recovery room 52:30 he asked his wife, would you go down 52:31 to the gift shop and get 20 of those cards. 52:34 And she brought them back 52:35 and he wrote to 20 of his closest family and friends. 52:38 This is where I was, this is who is with me. 52:40 Oh. 52:41 And it meant so much to her as you can really imagine, 52:44 you know, that really, and I'm thrilled with the idea 52:48 that especially in hospital settings 52:51 where people may never step foot in the church 52:53 but they're dealing with things perhaps 52:55 that are very serious and you realize that 52:57 we're all mortal, we don't live forever. 53:00 And what a great opportunity to have a painting 53:04 it's like a sermon. 53:05 It's like a sermon on the wall, 53:07 you don't have to preach a word 53:08 but there is this picture that communicates 53:10 how deeply God cares, and what God is like? 53:13 Well, Nathan, we want to give people an opportunity to be 53:17 in touch with you. 53:18 If you would like to get in contact with Nathan 53:21 or to know how you can get his paintings, 53:24 prints of his paintings, here is the information. 53:33 If you would like to contact Nathan Greene 53:35 or find out how to purchase his products, 53:37 you can call him at 800-487-4278. 53:42 That's 800-487-4278. 53:46 You can also reach him at 760-723-8082. 53:51 That's 760-723-8082. 53:56 You can also visit his website 53:57 and order his products online at NathanGreene.com. 54:02 That's NathanGreene.com. 54:07 Call or visit him online today, he'd love to hear from you. |
Revised 2016-11-17