Much has happened since then, after these past few years of lockdown, and as a result of isolation, introspection, and de-familiarization of normative systems of conduct and belief, Kohler emerges with body of work that reviews faith. Ashraf Jamal writes, “The title of Kohler’s solo show This too shall come to pass – evokes this will towards transfiguration. His bodies are resurrected, their physiognomy balletic. One gasps in their airborne midst. Rapture, ecstasy, trance, amazement, form a lexicon of feelings and drives one typically associates with religion, principally Christian iconography. There is no doubt that this is the case, but to simplistically regard Kohler as a ‘Christian artist’ is to miss the mark, for what impels him is a state of faith and grace that is catholic in the purest and most inclusive sense. Irrespective of personal belief, Kohler’s paintings touch one, because they speak to our deepest and most profound yearnings. In an age fatigued by Reason, driven by hysterical conflict and division, the utter collapse of neo-liberal democracy, it is unsurprising that we find the resurgence of an oppressive and exclusionary identity politics – Us versus Them. It is against racial and ethnic hatred, against the pitiful narrowness of nationalism, that Kohler returns us to a greater more tender state of grace. This is his greatest contribution to a local and global art world.” This Too Shall Come To Pass is a departure from his last presentation bust still in keeping with his abstracted forms that construct hope from despair and