I prefer to photograph my work in natural daylight.
These dark winter days are a bit thin on providing that, and so my daylight flourescents become the alternative.
My work room has little colour on the walls as I don't want this to reflect (quite literally!) on the statuary.
Yesterday, the " neutral" canvas I use as a backdrop for photographing smaller statuary seemed as dull as the winter outdoors. At this time of year, Blue spring skies and sunny yellow daffodils seem a long way off.
I decided to do something about it, and masked up the canvas backdrop ready for a change of scene.
I don't have a lot of time for private projects, so once I'd got out the paint and brushes, there was no turning back.A
From now on the backdrop for my small statue repairs will certainly be " different! And I will be able to gaze into a summer sky whenever the one outdoors is dark and wintry.
With a short deadline to meet, I worked quickly with the team, exchanging ideas and layouts for the figures, legends and symbols they elicited.My sketches had all been completed and approved, and I was on the starting blocks, (so to speak) with paintbrush in hand, motivated and eager to make a start.
However, when there was a sudden change of plan… I was informed that the icons were now to resemble something closer to photographic portraits.
Although the new September term was looming, I adjusted figures, recalling Abraham Lincoln's warning the dangers of "changing horses’ midstream..." And although sudden changes of plan can be unsettling, I have come to accept that it is usually part of God’s plan.
Creating contemporary icons of saints has its problems. There are many pre-conceptions about what an Icon is and what painting methods should be used. I feel the main ingredients are prayer and inspiration, yet I had been troubled by depicting St. Teresa Benedicta (Edith Stein) in casual clothing rather than her in Carmelite habit. However, one morning before mass, I imagined her holding up the brown scapular. (In this way, she would still be wearing the carmelite habit). This is something the school children may never have encountered had she been portrayed in her full Carmelite habit.
After this I found myself able to jump the hurdles set before me like a Grand National equine; obstacles were overcome and the icons completed with a few days to spare!
I hope the children will learn not only about the life of St. Teresa Benedicta, as a victim of the holocaust, but also of that important event in their English Catholic heritage; when the Blessed Virgin favoured St. Simon Stock with the brown scapular of Carmel.
"St. Simon was an Englishman, a man of great holiness and devotion, who always in his prayers asked the Virgin to favour his Order with some singular privilege. The Virgin appeared to him holding the Scapular in her hand. In its original context, the meaning of this promise was that Carmelite religious who persevered in their vocation would be saved. Beginning in the 16th century, the Carmelites began giving the brown scapular to lay people who wanted to be affiliated with the Order, and it became increasingly popular as a religious article.
Research showed that most had been depicted with a hangman's noose at the neck, and a dagger in the chest. With twenty characters to depict, the dagger and rope may have got a bit "samey"! Some variety was needed to pay tribute to each individual Saint.
Putting Faces to Names
I though it best to follow convention where "portraits" of the Martyrs were concerned, working from historic images of them.
Unable to find any portraits of Blessed Thomas Maxfield, I had to decide on his appearance, and what symbols I could use to identify him;
These are the symbols I chose to associate with his particular martyrdom:
The flowers he holds are species which represent the blood of the martyrs and their association with the passion of Christ. His path to the Gallows was strewn with wild flowers by the villagers as tribute to their love for this holy man. The butterfly has two purposes; as he suffered biting insects when imprisoned; it also serves as a reminder of "Eternal Life".
Balancing act with colours
The composition of the mural was to echo the paintings of Giotto and Fra Angelico.
As both had distinct styles, I chose elements from both to achieve the desired marriage between the two!
These artists did not use perspective as a contemporary artist would, and they favoured large discs of halos, and layering of their figures.
"Dear Mother of Perpetual Help, throughout your life you were open to Gods Holy Spirit: faithful in prayer, wiling in obedience, and generous in love. Pray for us that we may be open to God's word, and filled with the Holy Spirit....."
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