“What does it mean, to be an artist-in-residence at a church?” I was asked repeatedly as I described my plans for a sabbatical project to colleagues at Gordon College. “I don’t know,” I’d reply. “I’ll find out when I get started.” This was uncharted territory, both for me as an artist, and for the church community with which I’d worshiped for the past three years and which had accepted my offer to work with them as a full-time artist during January through May 2005.

Preparation and Commission

Ruth Riley, a leading member of the Liturgical Arts Cooperative, a group of visual artists, writers, poets, and dancers at Christ Church, had suggested I initiate an artist’s residency at the church during my sabbatical. I submitted a written proposal to Fr. Jürgen Liias, our rector, who was enthusiastic about the idea. In January we three met to discuss ways in which this residency could be integrated into the life of the church. Fr. Liias invited me to attend the weekly clergy meetings to participate in their Bible study, ministry briefings, and monthly ministry meetings. He scheduled a public commissioning during a January Sunday service, for which I prepared a bulletin insert summarizing my intentions as described in the proposal. Fr. Liias asked me to maintain my connections with the Liturgical Arts Cooperative, so that the gifts of other artists might also be encouraged as a result of this residency.

With this assurance of support by our clergy I was much heartened, although I began with only sketchy plans for possible projects. During the next seven weeks I attended many congregational meetings, collecting ideas for ways in which visual art could enhance our worship. The altar guild had approved the development of new designs for altar frontals and vestments, a major project, which would extend beyond the five months of the residency. Vestry member Margery Kennelly asked me to create props for a Pentecost mime performance and I happily accepted. Two additional projects became my central focus as an artist-in-residence: Fr. Liias envisioned a series of paintings created in response to the gospel readings for each Sunday, and when I learned that the Altar Guild was not hanging a flower wreath behind the altar this Easter, I offered to paint some panels for display during the Easter season.

The Work Begins

“I am the Lord your God, who holds your right hand. It is I who say to you, Fear not. I will help you.” —Isaiah 41.13

It was with relief that I returned to the studio with a plan of action. The series of Sunday gospel paintings could function, I thought, as contemporary “icons”, images that would greet those coming in to worship and reinforce the text for the day as people left the building. Robert Hanlon, a parishioner who designs and builds handcrafted furniture, was commissioned to create a display stand for the paintings. Since Christ Church supports ministries in Russia, Bolivia and Uganda I developed a folk art style for the icons based on Russian, South American and African motifs.

As I started designing the first images, fear set in. I struggled with fear of rejection (Would the congregation like the style I’d selected?) and fear of abandonment (Would God show up and inhabit this process?). As an artist I was used to shaping my own vision in the studio. The task of creating imagery that would transcend my individual vision and speak to a large congregation seemed quite overwhelming. I turned to a discipline I’d learned during an icon-writing workshop for comfort. The “Rules for the Icon Painter” beginning with making the sign of the cross and forgiving all who offended me, were a useful tool in combating the insecurities that plagued me, and assuring me of Christ’s presence.

Paintings Appear in the Sanctuary

"Be strong and courageous and do the work. Do not be afraid or discouraged, for the Lord God is with you. He will not fail you or forsake you until all the work for the sanctuary of God is finished.”
—I Chronicles 28:20

After ten weeks of preparation, work, and prayer, the first in a series of eight “icons” appeared in the sanctuary two weeks before Easter. “The Raising of Lazarus,” painted in the style of Latin American devotional art, was followed by “The Entry into Jerusalem,” which used Russian folk motifs. An icon displayed on the first Sunday after Easter presented an African Christ displaying wounds carved into the surface and gilded. Painted on the image was an invitation to “Feel my hands and side and believe.” The gold leaf covering the carved wounds was partially worn away that Sunday after many worshippers responded. The gospel text “I am the way, the truth and the life,” created another opportunity for devotional ritual action. A veiled icon depicting a traditional Byzantine image of  “Christ in Glory” created by parishioner Jennifer Hevelone-Harper invited worshippers to pray for a revelation of Christ’s presence as they lifted the veil to see his image more clearly. On Rogation Sunday, which concluded with the congregation processing outside for a blessing of the church gardens, worshippers filed past an image of “Christ the Vine” sprouting live ivy branches. The response to these pieces was quite positive. Many people asked about future plans for them, and were pleased to know that an exhibit is being planned of the entire series in the church gallery (a large meeting room equipped with display panels and track lighting) during the summer.

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