The presentation of religious and ethical concepts through public visual art has long been a means to communicate, form, and build identity in the public square—especially when literacy may be highly varied. This has often been conducted through the presentation of biblical and religious narratives as expressed through paintings, illustrated bibles, and stained glass.
However, with the decline of cultural religious engagement many of the locations for such identity formation are waning in engagement. Yet, as is often seen in the queues for artistic religious sites—such as cathedrals and art exhibitions—there appears to be some background yearning for visual representations of the transcendent.
Beginning with a traditional visual exegesis of various artistic representations of religion, we will then turn to examine Warhammer 40K as a significant outlet of religiously inspired artistic expression present in the public square. In comparison with other public forms of religious imagery produced in periods of conflict we will also consider whether the Grimdark representations of Warhammer can stand up as satire in an era where public representations are attempting to negotiate meaning in and through violence and uncertainty.
Author bio
Christopher A. Porter is an Honorary Research Fellow at Trinity College Theological School working on the Fourth Gospel with a particular emphasis in the intersection of theology and psychology. Originally a High Elf (4E) and Space Wolf player (2E), as a child he was fascinated with identity, inclusion, and fear; and so was naturally attracted to the enigmatic Dark Angels in the lore. After tragically losing over 100,000 points of Dark Angels, Space Wolves, Orks, High Elves and Skaven in a major bushfire, he has been slowly rebuilding his Dark Angels and Skaven with his kids. Yes, yes.
