Brave Beauty for your girls…and a Giveaway!

Brave Beauty, by Lynn Cowell

Right now my world is little girls. Frankly? I love every second of it! My girls happen to be grand daughters and while they may not be with me all the time I want to make each moment count. They are still young but it is never too early to begin growing their knowledge and understanding of their significance in Christ. I am always on the lookout for ways that I can do that so when I found this book of devotions I wanted to check it out.

Brave Beauty Finding the Fearless You, by Lynn Cowell (Proverbs 31 Ministries), is filled with one hundred devotions geared toward the ‘tween’ years. This is a pivotal stage in a girls development and Lynn has provided a thoughtful, sweet devotional to support, encourage, and empower young girls as they navigate the in-between years. Years when they begin to develop deeper relationships outside the protective net of family and where choices, decisions, and friendships begin to have a deeper impact in their lives.


Spending time with your daughter/s, grand daughter/s or nieces is so important and spending time in the word with them is a gift they will never outgrow. We can do this from the time they are babies but as they grow, helping them learn to spend time with God on their own can be a challenge-though one well worth our attention. The encouraging devotions in Brave Beauty reinforce the value each of our girls has in Christ and she will be reminded that she is brave, beautiful (in a way far more significant than the worldly definition), strong, and-above all- loved, deeply and wholly by God.

With Christmas just around the corner this would make a great gift for the tweens in your life-daughter, grand daughter, niece, neighbor, Sunday school class-you name it! You can find Brave Beauty at Amazon (hardback AND Kindle!), Barnes and Noble, Proverbs 31 and at your favorite online book retailer.

I know there are a lot of you out there with girls of your own and I want them to have a copy of Brave Beauty, Finding the Fearless You!! I will be giving a copy away over on my Instagram account (thatsmesusanmulder) so hop over there and check for the book image.

A big thank you to BlogAbout Bloggers Network, the Blythe Daniel Agency and ZonderKidz for providing review and giveaway copies of Brave Beauty! As always, my views are my own. I believe life is too short to waste your time or mine so I only post the good stuff.  I am not paid for my reviews or endorsements but did receive a copy of the book in return for my words.



Christian Art? Not Christian Art?

While I was on a forced computer break I had the privilege of being a guest over on the Newly Creative blog. I met Bernice, who authors Newly Creative, at a retreat this spring. After a conversation about Christian art, spiritual art and creativity she invited me to guest post.  Below is the content of my original post. Take a minute and check out her blog to see the other contributors contributions to see how the conversation developed.

Christian Art?

If you ever want to have an awkward conversation with an artist, bring up “Christian Art”. I don’t think I have ever had one that wasn’t filled with strong opinions on either side-there seems to be no middle ground. This may have to do with the fact that it is incredibly difficult to nail down what the term “Christian Art” means. Some believe it is religious art, some see it as spiritual art; but one thing we can all agree on is that it is difficult to agree.

I’ll begin by defining the terms religious and spiritual, as I will use them, because I believe there is a distinct difference in their application in regards to the nature of art. Religious represents a more didactic turn in which the work exhibits characteristics of ‘telling’. It is obvious in it presentation and leaves little room for interpretation on the viewers part. A good example would be images of the crucifixion, biblical stories and almost any image that contains a visage of Christ. Spiritual, on the other hand, is more enigmatic. The content is less direct and may be parabolic in nature, distinctly indiscernible as specifically spiritual in nature and can serve as an extension of the artists spiritual inclinations.

How this applies in my own work has been a journey. Long before I had any formal training I had an idealistic viewpoint when it came to the role of religion/spirituality in art. As an artist and a Christian I believed that I was called to be deliberate in my choice of subject matter and have a moral punch line for each piece. I worked with my church to bring about a better understanding for the role an artist could play-besides merely watering plants-in both the worship space and the worship experience. While this fed my creative nature it left me feeling constrained and, at times, not much more than a propagandist for leadership. In my attempts to create ‘good Christian art’ I was operating under the misnomer of what, I thought at the time, Christian art should be.When I returned to complete my degrees I walked away from any idea of creating work with religious or spiritual implications. I was heavily vested in conceptual interpretations and often imbued my work with densely layered philosophical underpinnings-which I loved. I still love deeply hidden meanings 

What came next?

Anomaly, Oil, spray paint, cattle markers on Linen, 60h x 48w, 2017

Following the completion of my MFA my art has undergone several permutations and, at one point, the complete suspension of any work at all. I walked away from creating for a period of about three years because I could find no reason to continue to paint. It wasn’t an existential crisis of any sort it was in response to a fresh calling to let go of everything. My personal life, my work and my spiritual life were in a season of deep transitions and when I finally went back to my work I found that the old ways of creating were of no use to me. Concept felt empty and I was forced to reevaluate what it meant for me to create.

The work I now began felt directionless but more necessary than what I had previously done. I discovered that when I was in my studio I entered into a space where I was finding a deeper expression than I had previously known. It was as if all of the training I had undergone had peeled off and I was painting from a place that lacked a definitive explanation. I couldn’t tell you the why of it, I only knew it was what I was supposed to do. That doesn’t mean I erased what I had learned-I still have a conceptual foundation based on ideas that have clung to my work all along-I just didn’t rely on knowledge but more on spirit. My work became more intuitive, abstract and, ultimately, satisfying.

Epoch, Oil, spray paint, cattle markers on Linen, 60h x 36w, 2017

It also became more spiritual. Not in the physical manifestation itself, but rather in its creation. In my studio I encountered a kind of communication with God than I could not find anywhere else. As I worked, I found I would ease into a sense of suspended time-a kairos. I poured out my frustrations, my prayers and soul longings without the use of words. Would I call the work I am doing now ‘good’ within the context of the contemporary arts culture? Probably not. This said, the work I do now is infinitely more valuable to me as a person-it possesses meaning and purpose in a way my previous work did not.


My understanding and appreciation of the role of religion and spirituality has evolved. I use to argue the intrinsic necessity in application of both within the context of the contemporary art world. Through the experience of how my own development as an artist has transpired, I have come to value one over the other. The larger argument of religion and spirituality in art has roots that date back all the way to the reformation but I will speak only from where I stand at this point. My work itself is neither Christian nor non-Christian. It is certainly not religious but could be categorized as more spiritual – but, being abstract it can be argued that it is neither. It possesses qualities that only express themselves through individual interpretations. No one comes to a work of art without bringing their own experiential narratives to the interpretation process and, therefore, the work will be defined not by whatever intent I put into it but rather what they bring to it themselves.