Category: Our Sunday Visitor

“Beauty is always the right answer”: Painter and illustrator Jaclyn Warren

“I was so nervous about having the chalice and paten in my garage,” Jaclyn Warren said.

“We have too many kids and too many cats; something’s going to happen to them,” she said.

But the precious liturgical vessels survived. They were in Warren’s home, along with a priest in full vestments holding a censer billowing smoke, because she was making sketches for a series of paintings of the North American Martyrs for a high school chapel.

The project, the brainchild of Father John Brown, who commissioned the pieces for Jesuit High School in New Orleans, will show two of the martyred laymen toward the back of the church, and then some of the saints in liturgical dress worshipping along with the congregation, with their vestments becoming more splendid the closer to the altar they are. It’s a huge project, and Warren is working feverishly in between caring for her young children, who, like everyone else in the country, keep getting sick.

Warren, a Louisiana-based liturgical painter and illustrator, said what’s more overwhelming is when she remembers where her work will be displayed.

“It plays on my nerves a little bit. It’s kind of a big deal. People are going to be looking at this for I don’t know how long, maybe after I’m dead and gone, and thinking maybe that nose doesn’t look quite right,” she laughed. “But I know the mission is so important, I can’t get hung up having an artistic crisis.”

Captivating an audience

Mainly, she tries to keep her audience in mind.

“I think of all the boys that are going to be looking at [the paintings of saints]. It’s important that they see them as a source of inspiration and strength, and not just, ‘Look at all these bald guys,’” she said.

She knows from personal experience how an off-putting depiction of a saint can stick with you for years.

“I remember growing up, I had my book of saints, and Mary Magdalene was wearing this bright pink dress and green eyeshadow, and even at 10 years old I was thinking it was so dated,” she said. She also remembers the Black saints were painted so clumsily, their skin almost looked green.

That was a missed opportunity by Catholic art. Warren grew up loving the saints, but it was despite these illustrations, not because of them; and even though she wanted to be an artist herself, nothing she saw drew her in personally. It never occurred to her that she could be the one to update those unappealing pictures.

“It had already been done. The books have been illustrated; the churches have been decorated,” she remembers thinking. She didn’t see herself as someone who could step up and answer a call.

So when she did study art in high school and then at Savannah College of Art and Design, sacred art was not on her radar.

“I thought, ‘I have to do something that’s going to sustain me. I have this talent; I’ll be a portrait artist. That will make money, and I’ll be secure,’” she said.

An artist’s struggle

But when she attended a summer program at Yale, she found herself the odd man out, ostracized because of her faith and because she made figurative art that wasn’t designed mainly to shock and titillate the viewer. She also noticed that artists who chased the cutting edge of artistic fads might have their moment of fame, but then they were just as quickly forgotten.

“I had to rethink, ‘Is being famous and well-esteemed all it’s cracked up to be?’” Warren said.

Read the rest of my latest monthly artist profile for Our Sunday Visitor. 

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This is the seventh in a monthly feature on Catholic and Catholic-friendly artists I’ve been writing for Our Sunday Visitor. 
Previous artists featured in this series:
Daniel Finaldi
Gwyneth Thompson-Briggs
Chris Lewis
Kreg Yingst
Sarah Breisch
Charles Rohrbacher

If you know of (or are) a Catholic or Catholic-friendly artist you think should be featured, please drop me a line! simchafisher at gmail dot com. I’m not always excellent about responding, but I always check out every suggestion. Thanks!

Dan Finaldi: Teaching painting, finding God

Dan Finaldi doesn’t have a studio. His house in New Jersey doesn’t have space, and that might become a problem when he retires from teaching to spend more time painting, which he plans to do in the next few years. He’s been a high school teacher for 23 years, and as much as he enjoys teaching teenagers, at age 62, he’s finding it harder to match their energy.

But he’s still teaching now, and when the weather’s too bad to go outside, he often stays after school to paint. More often than not, he ends up painting his students. “They’re posing or eating, and I’m painting them. They talk, they share. They tell me their life stories,” he said.

“I just want to paint them. Sometimes, people will come to me and say, ‘Can I pose?’ and I say, ‘Sure.’ I’m fascinated by looking at people. There are so many different things to look at in a face. I love looking at their faces,” he said.

Finaldi teaches at a public high school that welcomes lots of Indigenous students, many with complex or traumatic histories.

“Last year I painted two double portraits, sisters from Mexico. They told me their grandmother speaks an Indigenous language, not Spanish, some ancient language that has perdured,” he says.

The Southern and Central American migrant students often speak of their families, and Finaldi said they also seem to bring a heightened sense of color and design to their work, as well as an apparently innate talent for working with pottery and clay.

Awakening a dormant ability

All students have a “dormant ability in drawing,” he said, and he sees it as his job to teach them the skills to wake up that dormant ability. But it helps when some of the students also supply enthusiasm and inspiration.

“When you’re in a class of 25 kids, it does lift all boats, when you have kids that are not on their phones, and they’re looking at other kids’ artwork,” he said. “Their work improves aesthetically. They see the line work and the color, and they try to imitate it.”

Finaldi is just inspired to paint the kids themselves, though.

“They’re such beautiful, interesting-looking people; I just want to paint them. I’m fascinated by looking at people,” he said.

The natural world

But when the weather is fine, Finaldi will be outside, using oil paint or watercolor to capture his other great love: The natural world. He’s learned to harness the power of Instagram and will share a video panning slowly past a busy playground where he’s set up his easel, his unfinished canvas blending into the rosy sun and shadows of a late summer afternoon.

The loose, light-filled strokes of color are typical of Finaldi’s work, which presents fluid, unpretentious scenes of daily life: the rusty glow of autumn leaves under a cerulean sky; a moody moonlit nocturne with power lines; teenagers just hanging out…Read the rest of my latest artist profile for Our Sunday Visitor. 

This is the sixth in a monthly feature on Catholic and Catholic-friendly artists I’ve been writing for Our Sunday Visitor. 
Previous artists featured in this series:
Gwyneth Thompson-Briggs
Chris Lewis
Kreg Yingst
Sarah Breisch
Charles Rohrbacher

If you know of (or are) a Catholic or Catholic-friendly artist you think should be featured, please drop me a line! simchafisher at gmail dot com. I’m not always excellent about responding, but I always check out every suggestion. Thanks!

 

Let the dead bury the dead

We have a new annual tradition: Once a year, as many as possible of my far-flung siblings and I meet at my parents’ grave, back in the town where we grew up. We say a rosary, chat, and reminisce. The first year, I planted a little lilac tree.

It had been a long time since I sweated that much. We sat on the grass before the granite headstone in the blazing August sun in the middle of the day, this time me and two of my sisters and my brother-in-law. I thought it would be easy to find the spot, but the last time I had been at the cemetery, this particular plot stood out more, because there were mourners gathered around, and heaps of flowers, and a priest, and a canopy, and a casket, and an open grave for my mother, and a fairly fresh one for my father. It was much easier to spot that time.

Now the grave looks more or less like all the others: The stone with names and dates carved into it looks comfortably settled, surrounded by late summer grass, somewhat shaggy, a little parched, looking like it had been there forever. Someone had stuck a bunch of artificial purple flowers into the ground, long enough ago that they were faded in the sun.

I did come prepared. I brought a little lilac sapling from my house, and a couple of hearty rose bush cuttings that transplant well, and I brought a pickaxe and a short-handled shovel, and a small jug of water. It didn’t take long to get the green things in the ground. I also brought a bottle of soapy water to squirt at the headstone, and a little scrubbing brush to clear any grime out of the cracks and the letters of their names. The smell of a soapy lemon Joy cut through the summer haze of dry grass and cricket song, and in the fierce noon sun, the water quickly shrank up and disappeared.

It was so hot, that I was afraid the lilac tree would not survive. I didn’t bring nearly enough water, and I wasn’t sure when I could be back to care for it again. It’s only an hour away, but somehow it’s hard to get there.

We prayed a decade of the rosary and talked a bit about our parents. My sister remembered my father storming home one day and demanding, “Who’s been praying for me?” The answer was, of course, my mother…Read the rest of my latest column for Our Sunday Visitor. 

 

Who shows up at the Adoration chapel?

Without really meaning to, I seem to have adopted adoration as a mainstay of my spiritual life. It’s the thing I keep coming back to in all seasons, and I’ve done so since I was in college, and I hope to keep it up until I’m one of those creaky old people who makes everybody hold their breath while they shakily lower themselves down for a little genuflection, possibly never to get up again.

I have been to all kinds of adoration chapels: ornate, baroque ones and glossy, minimalist ones, ones that feel like waiting rooms of some kind (waiting for what?), ones that feel like a Polish grandmother’s rummage sale, and ones that feel like raves.

The funny thing is, the people you meet at the adoration chapel tend to be the same, no matter where you go.

Everybody knows, for instance, about the classic Jesus Whisperer: The adorer who simply cannot pray without whispering. Maybe it’s how they keep track of how many Hail Marys they’ve said, or maybe Sister Mary Scrupulosa back in 1952 actually taught them it somehow doesn’t count if it’s not audible; but by gum, as long as they’re there, everybody else in the room is gonna hear about it. Some people can simply smile and shrug and say their own prayers, but for others, the Jesus Whisperer is a good reminder that earbuds are cheap and there’s nothing wrong with Googling “one hour of rain sounds” before you pop in to pray.

But there are a few other adoration regulars who turn up almost as reliably.

For instance:

The Juicy Mouth. A close cousin to the Jesus Whisperer. These folks seem to realize that it might be disruptive to others to actually whisper prayers, so instead, they simply mouth them. And for some reason — and I’m willing to admit that the reason is that I’m crazy — this is far, far worse than whispering. It’s just an hour of barely audible, faintly wet, somebody-else’s-mouth noises, and it’s the absolute worst. Yes, I have heard of offering things up. No, it’s not getting me anywhere.

The Accessorizer Supreme. Many people bring rosaries, chaplets, Bibles or other prayer books, maybe a journal, perhaps a chapel veil. The Accessorizer Supreme brings THE WORKS. She (and it’s generally a lady) sits down, unpacks her tote bag that says “this is the day the Lord,” pulls out a binder that says “has made,” unzips it, flips it open to the correct page, whips out a little box that says “let us rejoice” that holds dozens of miniature color-coded Post-it Notes and starts applying tabs to the chart in the front so she can get caught up on which color highlighter she’s supposed to be using today.

The highlighter has a little bespoke leather tag tangling off it that says “AND BE GLAD.”

Once she establishes that the color of the day is pink, she pulls out the retractable matching pink bookmark to note the spot where she started reading for the day, and then smartly tears open the Velcro on the little fanny pack where she keeps the thematic hand puppets, with which she acts out the Bible verses. This can occasionally be a little distracting for the people around her, and once somebody complained when she got up to the Song of Songs puppets, but this is HER SPIRITUALITY and she is a TACTILE LEARNER and also if you are interested, she knows where you can BUY THIS EXACT KIT and she will EARN A SMALL COMMISSION.

Read the rest of my latest monthly column for Our Sunday Visitor. 

Photo by Guruh Budi: https://www.pexels.com/photo/woman-praying-in-a-church-16970828/

A ‘very human life’ is the hallmark of Gwyneth Thompson-Briggs’ sacred art

Gwyneth Thompson-Briggs said her husband Andrew asked her after Mass, “Did you see the guy with Jesus hair?”

She did see him and had wanted to run after him, but she hesitated, and now she regrets it. He would have made a great model.

It was one leap she didn’t take, but only one.

Four years ago, she and her husband took a chance, and now she supports the family full-time with their home business, Gwyneth Thompson-Briggs Sacred Art. She mostly paints commissions and also teaches painting in person.

As a working mother and breadwinner, she’s something of an oddity in her community.

“In my parish, many of the mothers stay home full time, and the husband works. I try to explain to people we chose to have this small business of making sacred art because it allows us to live the liturgical year more fully,” she said.

As fulfilling as this life often is, it wasn’t easy to land there.

“To take that leap, God sort of had to put us in a situation where we lost a different job and we didn’t know what else to do. It didn’t seem prudent to try to raise a family on being an artist, but God knew we didn’t have the courage to do it without taking away the other options,” she said.

Thompson-Briggs said she looks to the medieval model of a family workshop, including apprentices who were part of the household.

“It seems like a very human life to live, that my children see their father throughout the day, and we’re always switching off with childcare and homeschooling and business duties. It’s a model I love, but it has been rare. It may be coming back, since everyone’s been working at home,” she said.

That “very human life” is a hallmark of Thompson-Briggs’ approach to art. Many of her live models, like the one with the Jesus hair who got away, are not professionals, but fellow parishioners at the church down the street from her studio.

“I will snag them and say, ‘Are you available to linger for an hour next Tuesday after Mass?’ and surprisingly, most people are amenable. I’ve gotten to have so many wonderful conversations. You meet so many people you think you know because you see the back of their head for months, and then you start to talk to them, and you’re always surprised,” she said.

The in-person conversation and time together give her visual insight an artist can’t attain by working from a photograph.

“When you’re working from a photo, you can get caught up in the detail. [But] when you work from life, you introduce the element of time. What’s the most natural way their head would tilt or that drape would fall?” she said.

As her model settles in and gets comfortable, her eyes also discern more breadth of color, more depth in shadow, and more atmosphere.

Her favorite models are good conversationalists, and she also acknowledges that talking helps keep them awake. Her studio heats up tremendously in the summer, and fans can only do so much when a model is draped in layers of wool.

Even their discomfort can be a revealing part of the artistic process, though.

“If you’re carrying something heavy in one arm, it’s going to affect the angle of the hips, or something,” she said.

But because she is making sacred art, she is not trying to paint a recognizable portrait, but to assist the viewer in prayer; and so to portray a beloved saint, or Mary, or the Sacred Heart, she often uses three or four models, combining select elements from their various faces and bodies, hands and hair.

“Using multiple models allows me to approach the idealization of the saint who is a distinct personality, who is separate from all the reference models. Sometimes, I will transform someone, make them older or younger; other times, it’s a rare person who has really beautiful hands,” she said…Read the rest of my latest artist profile for Our Sunday Visitor.

Image: Detail of St. Martin de Porres by Gwyneth Thompson-Briggs

Blessed are the amateurs

In the last few decades, it’s become easier and easier for folks to turn a little talent or skill into a business. You like baking or decorating cakes? You can sell those! You enjoy woodworking? Take it on down to the Saturday market! You have a knack for knitting? We can whip up a website in no time, and you can turn that into a full-time job.

For some people, especially moms, this has been a godsend. It allows them to make a little money, or a lot of money, doing something they love, and it means they have flexibility and satisfaction that they’d never find in some workaday office job.

But for some people, it just turned into yet another ball and chain. Monetizing their talents just sucked all the joy out of it and made the thing they used to love into a slog. The activity that once relaxed their frazzled nerves and restored their psyches turned into a new source of anxiety and frustration, and robbed them of anything to fall back on in their free time.

So there is now a well-established backlash against turning everything you love into a side gig. This is a good and healthy thing, and it’s gratifying to see talented people making beautiful things simply because they want to, without hoping to turn it into a profitable empire.

However! (There’s always a “however.”) Maybe it’s a 21st-century disease, or maybe it’s a specifically American thing, but I’ve noticed that the “you can monetize that” pressure has given way to something superficially different, but just as insidious: The pressure to become super knowledgeable about anything you happen to like. You can be an amateur, but you have to be an expert amateur, or you will pay.

This is undoubtedly a fruit of the internet and social media (and maybe mostly a problem for people who are very active on social media; but it’s bled into “real life” as well.). Folks like to share little scenes from their everyday life, and other folks like to chip in bits and pieces of knowledge they happen to have (or think they have) about it. Sometimes they’re right; sometimes they’re wrong. Sometimes they’re helpful, sometimes they’re interesting, sometimes they’re just trying to show off. But it has become standard to know a lot about just about anything you share about your life, even casually.

If you mention there’s a bird at your feeder, you better know the exact species and subvariant, and whether it’s acting normally or unusually, and whether it’s common in your area, and if that’s good for your environment or bad; and if there is any bird seed included in the photo, it’s almost certainly going to be the wrong kind, and you’re going to hear about it. These days, you can no longer buy a packet of seeds, dig a hole, and put them in the ground. It’s not that simple! Long before the actual plant ever pokes its shy head above the earth, the discourse about it will flower, including hot debates about native vs. endemic vs. indigenous vs. invasive species, diatomaceous earth vs. natural zeolites, and whether or not you’re doing enough to support your local bees.

It’s gotten to the point where people are genuinely afraid to share anything at all, because they know that someone, somewhere, is going to be more of an expert about it than they are, and they are going to get yelled at. … Read the rest of my latest for Our Sunday Visitor.

Photo of “Image of Smiling Man Looking Up” by Homer page, from The Family of Man by Edward Steichen 

Baritus Illustration: A war cry in stickers and T-shirts

Chris Lewis believes in preserving tradition, up to a point.

It was the ages-old, rock-solid history of the Catholic Church that first grabbed his attention and made him take his adopted faith seriously. The Georgia-based graphic artist and illustrator at Baritus Catholic Illustration had joined the Church as an adult. He was raised a Bible Christian and drifted into functional atheism; but when he met his wife and her Catholic family, he had to take another look.

“If you love somebody, you’re going to be interested in what they’re interested in,” Lewis said.

So he began asking questions and was astonished to find out that Catholics had answers.

The first thing he wanted to know was who the first pope was. When his mother-in-law told him it was Peter in the Bible, he said it was a “wake-up slap in the face.”

“Within one question, I had a connection to history in Jesus’ time, and that led to all kinds of subsequent questions. So I picked up the Bible and started reading again,” he said.

He also spent time just staring at the massive, soaring, overwhelming architecture and stained-glass windows of the church he and his new wife attended, trying to make sense of what he was seeing.

He internalized the lesson: You can teach with images.

At the time, Lewis was making his living as a graphic designer. Like so many Americans, he had begun his artistic life as a kid producing copious comic book superheroes and then shifted to crafting pixel art, square by square. These were both decent training for his eventual career in corporate branding, producing polished images and logos to sell products for his clients.

But as his new faith started taking root, it became more insistent, and he began to think, “If this is what I’m staking my belief on, I’m going to take it and put it in my art.”

“I kind of took the very formal polished approach of graphic design, but the more storytelling approach of comic books, and the simplicity and limited color palettes of pixel work and made the style that fused all my beginnings,” Lewis said.

The result is a look that’s dynamic and accessible like comic books, but with more heft and dignity; it’s polished like graphic design, but infused with authentic emotion; and yes, it’s designed to fit into a square with only a few colors, so it prints well.

So along with doing design and illustration work for various authors, publishers, archdioceses and more, Lewis also has a thriving retail business for stickers, T-shirts, cards, posters and phone cases. Some of them are iridescent; some of them glow in the dark.

How does this popular, accessible work jibe with the history and tradition he found so compelling in his own faith journey? Read the rest of my latest Catholic artist interview at Our Sunday Visitor. 

Previous artists featured in this series:
Kreg Yingst
Sarah Breisch
Charles Rohrbacher

If you know of (or are) a Catholic or Catholic-friendly artist you think should be featured, please drop me a line! simchafisher at gmail dot com. I’m not excellent about responding, but I always check out every suggestion. 

 

God, like any good mother, won’t let you disappear into the crowd

Big families look really loony to me. I have caught myself thinking, “Holy cow, how does she DO it?” when I see a young mom surrounded by little kids on all sides, all of them bopping up and down and squawking and demanding attention. Sometimes I stop and discreetly do a head count of all the little heads that belong together, and I have a little revelation. Five, six, seven ….

… Oh. I had even more kids than that.

But it does look like a lot, from the outside. It is a lot. ANY amount of kids is a lot! One kid is a lot! But I had 10, after all. No wonder people were always staring at us. I get it now. Some of my kids have moved out, and none of them are really little, and while I’m not an empty nester yet, I’m out of the woods enough that I can see it from the other side. I see how we looked to other people when we were really in the thick of it: Beautiful, but undeniably loony.

Part of the reason for this is that, from the outside, a big family looks just like that: a big family. A unit. If you know a few big families only by sight, and not personally, you probably think of them as “the one with all the loud, redheaded kids” or “the one where they all look like farmers.” More than one person has told us we’re “that family with all the hair,” which I fully recognize is not the worst way we could be identified.

The point is, when there are a lot of kids in a family, it’s kind of a blur from the outside. Outsiders see that everyone in the family kind of resembles each other, and they’re sort of milling around the parents, and maybe you can recognize the oldest and the current baby, but in the middle — who knows? They’re just part of the bunch.

But believe me when I say that this is not how the parents see it, not unless something has gone very wrong in the family. Sometimes the wrong name comes out of my mouth when I’m calling a child, but this is just the general confusion of my brain, and it doesn’t mean I don’t know who they are. They are all unambiguously themselves and have been since day one.

I, like every decent mother of a large family that I know, take my children’s individuality extremely seriously, and they don’t seem like an undifferentiated mass to me, and they never have. They don’t even really look alike to me, except in little fleeting flashes here and there. I made them all individually, one at a time, and even when they were born very close together and raised under more or less the same circumstances, they have all always been so very different and distinct from each other. It has always been startling and bizarre to realize that, to people outside the family, we are just some kind of indeterminate welter of humanity, just a sort of Fisher borg.

The domestic church

We do have to treat our large family as a unit in some ways, buying large amounts of food and giant vehicles and sharing clothing and making plans based on the reality that parents cannot bilocate, and simply cannot accommodate every possible thing 10 individual children, no matter how cherished, would like to do. But in other ways, we tried (with varying success) to think of them as, and to convey to them that they are, distinct, and distinctly important; unique, and uniquely valuable.

Well, there is a reason we refer to the family as “the domestic church”… Read the rest of my latest column for Our Sunday Visitor. 

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Image: Bianca degli Utili Maselli, holding a dog and surrounded by six of her children (c. 1565–1614) Wikimedia Commons (public domain)

How do we keep kids safe in confession (and everywhere else)?

I made my first confession in a parking lot. It was the early ’80s, and that was how they arranged things — lined up in a parking lot across from the church, with a couple of folding chairs set up on the hot asphalt, parents clustered around just out of hearing distance.

Everything was done as casually as possible at this time, as part of an overall effort to demystify and desanctify the Church. I also remember them painting over the midnight blue sanctuary with the gold stars, and making it beige instead.

As foolish and unpleasant as their likely motivation was, it wasn’t actually a terrible system for first confession. I thought of it the other day when Chris Damian asked on Twitter: “How can Catholic parents responsibly send children to confession, knowing that for half of the last century about 1 in 25 priests was a sexual abuser? And that the Church structured itself to hide this?”

You can quibble about his numbers, which he says are based on the John Jay Report; but I believe it was a good-faith question.

It is undeniable that some priests, just like some men in every profession, are sexual abusers, and that they use their spiritual authority and the privacy of the confessional to prey on vulnerable people.

So here’s my answer:

I thought first of what I taught a class of 8-year-olds when I led a confession preparation class. We learned four basic things about safety in general and not just confession. It occurred to me that these rules didn’t change for older kids. They just need elaboration.

One: My body is made by God, and I’m in charge of it….Read the rest of my latest for OSV.

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Photo by cottonbro studio via Pexels

The art of presence: Iconographer Charles Henri Rohrbacher

“An icon isn’t really an icon without a viewer,” Charles Rohrbacher said.

“Icons are looking out at us, and we complete the circuit, as it were.”

From his small, crowded workshop in Juneau, Alaska, the 68-year-old deacon and iconographer sends his icons out to be present for any viewer who’s willing to see and to be seen, whether in churches, in private homes or in books.

He painted his first icon for his grandmother when he was 8 years old. She kept the crude watercolor of Jesus by her bedside and prayed her Rosary before it every night.

But although Deacon Rohrbacher kept turning out art from that day forward, and went on to study art history and graphic design, it was not until the 1980s that he rediscovered iconography and began to understand how powerful these sacred pictures, with their ancient tradition of preaching the Gospel through images, could be.

He made friends with Dmitry Shkolnik, a Russian iconographer who brought him to the Easter Vigil at an Eastern church.

“The whole interior was painted in fresco from top to bottom, and I thought I had gone to heaven. I had this realization: This is what I’ve been looking for. This is what I’m called to,” Deacon Rohrbacher said.

It wasn’t just the aesthetic appeal. Around the same time, Deacon Rohrbacher was at a gathering at a Salvadoran church in San Francisco, where Catholics were grieving the martyrdom of Archbishop Oscar Romero. Someone had drawn his picture on a piece of white cardboard, and the people surrounded the image with flowers and candles as they prayed.

“Knowing next to nothing of the theology of the icon, it occurred to me that, when everyone said ‘¡Presente!’ when his name was read [a Latin American invocation signifying that the dead are still with us], these evil people have murdered him, but he is present among them. His image signified his invisible presence, along with Christ and Mary,” he said.

That urgent, undeniable sense of personal presence so many people feel when they spend time before an icon is no accident; it is deliberate, and hard won. When Deacon Rohrbacher is illuminating a manuscript or making a print, he allows himself more artistic license and personal interpretation; but when he’s painting an icon, he follows the age-old rules of the training he received from Shkolnik and from the Byzantine Catholic Jesuit Father Egon Sendler.

“What makes an icon different even from [other] religious painting is that self-expression and creativity are subordinated to the form, which is also the content, of the icon,” Deacon Rohrbacher said.

“It’s the opposite of photography. The stylization works in favor of the icon. It’s not the artist imagining what they look like,” he said.

Personal artistic style and self-expression make way for something more transcendent. It’s similar, he said, to how he serves at Mass as a deacon.

“You don’t make it up,” he said. “Every word I say is in a book. You don’t want to impose your personality on the liturgy.”

Which is not to say that you can’t tell the difference between different presiders.

“That’s a great thing; we’re not robots,” Deacon Rohrbacher said.

But individual interpretation present in icons, just as with liturgy, come about because their power works through individual human beings, and so some individuality is inevitable.

Icons are images that proclaim the Gospel. And images and the Gospel are meant to go together.

“There is something missing in our proclamation of the Gospel without images,” Deacon Rohrbacher said.

He vividly remembers visiting beautifully decorated churches in the early ’80s, and although they were glittering and grand, he was dismayed to realize that nothing visible made them discernibly Catholic.

“I was in a church where somebody had decided they would literally whitewash over the painted Stations of the Cross,” he said.

These pictures might not have been the highest quality art, he acknowledges, but some kind of imagery has always been vital to our faith. You can’t just do without pictures….Read the rest of my article about Rohrbacher’s work at Our Sunday Visitor.

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I’m so pleased to announce that this is the first in a monthly series I’m writing for OSV featuring Catholic artists. If you have a suggestion for a Catholic visual artist (including yourself!) you think should be featured, please drop me a line at simchafisher at gmail dot com with “Catholic artist feature” in the subject line. I am interested in all styles of art.