Chapel of the Rocks

Justin Sterling (b. 1992), created more than thirty stained glass windows within this purpose-built chapel. Abandoned and reclaimed from the streets of New York, the windows are first destroyed by throwing a stone, reforming the shards, painting and firing the broken glass to refract light in overlays of color. Through this process, Sterling invites contemplation of spirituality and the urban environment, and the Existentialist concept of “bad faith,” with reference to the “broken windows” policing of 1990s New York and as well as the many other facets of society that arguably operate on bad faith. Can contemporary experience be analyzed inside our collective definitions or symbols of good and bad faith? Sterling invites you to share your opinion on bad faith as well as good faith inside the chapel.

Playing on the titles of Leonardo da Vinci’s Virgin of the Rocks altarpiece (1491–1508) and the Dome of the Rock mosque built in Jerusalem in 1023, Sterling also dialogues with history, while at the same time refuting the Western European tradition of oil painting, in favor of using the built environment as his medium. Other objects reclaimed from the streets include fire hydrants, police barricades, and the traffic cone, David. David has been featured in numerous street performances. Clothed, small, and appearing in public locations David comes to represent the vulnerability of youth and the juxtaposition between innocence and neglect.  In the chapel context David also refers to the Biblical hero who slayed the giant Goliath by throwing a rock, and the ultimate triumph of the underdog.

Inspired by the entrance to the Rothko Chapel in the artist’s birthplace of Houston, Sterling has selected a number of works from the Museum’s collection from different faiths, creating a space that is inclusive of multiple religious or spiritual beliefs. This installation offered public response section asking people to “define good faith” and “define bad faith” and in the end over 5,000 individuals participated in the creation of a type of “comments section” for the complex meanings and goals of “faith”.

Curated by Anita Feldman

October 29 - February 12th, (2022-2023)

​San Diego Museum of Art, 1450 El Prado, Balboa Park, San Diego, CA