The narrative thread of a tree continues throughout the entire Bible. The tree grow in Genesis, but by the time we get to Isaiah it has been cut down and only a stump remains. However, there is still hope that from the roots a shoot, a small branch will grow again and bear fruit. The image references the words of the prophet Ezekiel, “I the Lord … have dried up the green tree, and have made the dry tree to flourish” (17:24)… And then, towards the end of the Gospel narratives, we come to the tree of the cross.
“Mary the Dawn” represents the the Annunciation, the moment of the Incarnation when Mary welcomed Christ into our world. The title references the first line of a medieval hymn “Mary the Dawn, Christ the perfect day”. The “dawn” spoken of in the poem signals that Mary was sign pointing the way to Christ.
Ascent/Descent is a contemporary interpretation of the Virgin Mary as Jacob’s Ladder. This reading of Genesis 28 views Jacob’s vision of the stairway ascending to heaven as a pre-figuration of the Virgin Birth. Mary was the fulfillment of the LORD’s promise in this passage “I am with you and will watch over you wherever you go, and I will bring you back to this land. I will not leave you until I have done what I have promised you.” Through Jesus’ salvation (brought forth by Mary) we are able to ascend to heaven, and through Mary, Jesus descended to earth. Mary was the vehicle, the connection between heaven and earth which allowed salvation to come.
My newest Marian painting “Interrogatio: Inquiry” depicts that moment of questioning “How can this be?” when the angel announced the Christ’s coming to Mary at the Annunciation. Mary’s vulnerability before God is represented here by the nude female figure. The grand space of the architecture represents God’s overpowering presence. The architecture also becomes a metaphor for Mary herself, often referred to in medieval texts as the Temple or dwelling place of the Lord because of her role in the Incarnation.
My newest series of Gold Silhouette paintings are meant to be contemporary icons, modern interpretations of traditional icons. Whether architecture or figure, even landscape, my work has always centered on a theme of convergence between heaven and earth. Similarly, these new mixed media pieces juxtapose the expressive minimalist quality of my figure drawings with the other-worldly materials of metal leaf and paint inspired by iconography.
The figure in the mirror is attentive, ready, waiting, poised in the act of creating. Her world is not limited to the objects before her – the mirror, the window, the branch. Within them, through them, she sees more: she sees deeper into a physical world than would be considered possible at first glance
The Feast of the Annunciation was moved to April 8 this year, since March 25 fell during Holy week. The Annunciation celebrates the moment when the angel Gabriel announces to Mary that she will bear the Savior. This series of Annunciation master studies I have shared over the last months is about waiting, and the expectation of new life. At times this “new life” has been a metaphor for new beginnings, forgiveness, spiritual renewal, but in 2012 the time of waiting was literal, as I waited, in pregnancy, for my baby girl to be born…
Cardus has just published another of my paintings in their online journal Comment.
Our Lady of the Barren Tree is an image of hope: the strange beauty of winter, in which it requries faith to believe that trees and grass are only “sleeping” and will return with new life and growth.
The tree, the vine, the branches – these images evoke the memory of Eve in the garden of Eden whose disobedience eventually brought on the exile of humanity from paradise. Eve’s disobedience was eventually redeemed in the act of Mary’s obedient “May it be to me as you have said”.