I have been fascinated by the art of Illumination since I was a music student, studying abroad in Italy, with the opportunity to see many illuminated manuscripts in person. The skill, time, and expense required to hand copy scripture, text, and music with ornate illustrations (often flecked with real gold and expensive pigments) was captivating to me. I loved these collections of the gospels with portraits of Gospel authors, called Gospel books, as well as huge complete Psalters and practical books of prayers as artistic artifacts. It seemed at once lavish and ornate, a book so expensive that monks, artists, and entire art workshops devoted to illumination could only make them with the patronage of wealthy benefactors.
In an age where we consume and discard things at an alarming rate, the idea of a precious gospel book or manuscript of music that is worn down, valuable, and beautiful to behold is fascinating, even novel. It would have been looked at again and again, its words and illustrations pored over, new images and rich meaning leaping out of the pages with each viewing.
The definitions of illumination are as follows, according to Merriam-Webster:
My work is almost always informed by music, poetry, or scripture. I study the music, poetry, writing, or the scripture intensively before I even put a brush to canvas or water on paper. It requires a lot of a beholder, this deep engagement with a text or a piece of music. I have to give it time and space to breathe in a world where there is increasing pressure to be quick and efficient. If I don't understand the poem or the scripture, it comes through in my work. I have to ask what the author meant, who he or she was speaking to, what they intended me to feel. Of course, the process is filtered through my own messy, imperfect experience, bias, and viewpoint. I convey what I am learning by taking all of this information and experience, creating a visual feast from my own point of view.
I paint using mostly abstract gestures and imagery with intensely pigmented ink, and using metal leaf in the heritage of illumination. I use composite foil in copper, bronze, silver, and gold. The gold in most of my work represents the presence of the divine in all things, taking all shapes, present in the blackest black or the purest white. For me, this process of illumination involves all definitions: I am trying to gain understanding or find answers to difficult questions about myself, my life, or a particular spiritual or philosophical question. I am wrestling with the mysteries of God and faith through this marvelous tradition of old illumination: using paper and canvas and pigment with precious metals to create a beautiful object that helps point to the one who made all things.
There is a lot of trust involved, working this way. Sometimes I see a vision come to life on the canvas so easily, and other paintings come much harder. It mirrors the way that some questions have immediate answers, and others linger in the gray area, others are more difficult or take more time. And sometimes you seem to find the answer, or sometimes you can only see it in part.