ABOUT THE ARTIST
Henrik Söderström is an artist, designer, and idea enthusiast. As a professor in IWU's Division of Art + Design, he not only teaches from an unapologetically Christ-centered lens but also creates work that tells the story of redemption through imagery pulled from scripture.
ABOUT THE ART
“I love bighorn sheep and have been drawing them for years.
The account of Abraham’s life in Genesis 22 describes how God responded to Abraham’s faith with miraculous provision—a ram caught in a thicket. I have been trying to spot a bighorn sheep in the wild for over ten years, and while I believe they exist, I actually have no direct observational evidence. There are many good things I have not yet seen but believe are on the way in God’s perfect timing; His Kingdom in its fullness is among us, even when we see it dimly through the fog or the thicket.
In John 20, the resurrected Jesus says to Thomas, ‘Because you have seen me, you have believed; blessed are those who have not seen and yet have believed.’ Rams remind me of the truth that there is more going on around me than I can see. The Kingdom of God is here, and it is also on the way.”
This issue features three separate cover images, highlighting different sections of the art. The three magazine covers showcase pieces of Henrik's larger work, exploring profound themes of faith, renewal, and God’s Kingdom at work.
The first cover, The Ram and Dove, features a ram inspired by the Genesis 22 account of Abraham’s faith and God’s miraculous provision. For years, Söderström has been captivated by bighorn sheep, though he has never seen one in the wild—reminding him of Jesus’ words to Thomas in John 20: "Blessed are those who have not seen and yet have believed." The ram’s horn, fashioned into the shofar, announced the Jubilee year of forgiveness and restoration, while the dove symbolizes the Holy Spirit breaking into everyday life with peace and guidance.
The second cover, The Leaves and Growth, reflects the Kingdom’s quiet but unstoppable expansion. Leaves unfurling in hidden places illustrate God’s promise of new life, even in the desolation of waiting. Growth emerges subtly but transforms the barren into something beautiful, echoing the hope that God’s Kingdom is here and still on its way.
The third cover, The Dry Bones Coming to Life, is inspired by Ezekiel’s vision of resurrection and restoration. In the valley of dry bones, God’s breath restores what seemed lost and lifeless, just as His Spirit transforms the forgotten places in our lives. Together, these covers weave a visual story of faith, unseen realities, and the ever-present hope that God is making all things new, even when we only glimpse it dimly, through the thicket or the fog.