Edge of Faith May 2017 - Page 52

That is something you have to be very careful about telling people in the art world today because anti- religion is certainly a very big part” fun because when I ran the gallery, I got to meet them. That was another little push to keep on painting. Those are the artists that I owe a great deal to, and who I am lucky enough to have met. Morandi is my favorite. And, of course, Vermeer and those people. But, Morandi right now, and has been for decades. I look at his work almost daily. Our magazine celebrates the creativity of the creation from the Creator. Whether your art is always depict- ing something that’s religious or whether it’s not — or whether you’re a Christian or you’re not, we feel that all of your gift comes from God. So when you paint, it is to the glory of God. Sometimes the pieces may be a bit dark and don’t seem like they’d be to the glory of God, but you can pray for the healing and still enjoy the expression of that art. So with that long introduction aside, what is it that inspires you to paint to the glory of God? The world around me is so beautiful. No matter what time of the day or the night. I am a practicing Catholic, I actually go to mass every morning. That is something you have to be very careful about telling people in the art world today because anti-religion is certa inly a very big 52 • The Art of Faith Magazine • www.aofmag.com part of the contemporary art scene. In fact, I had to quit getting Art America, Art News, and of course, Forum years ago because they’re so vile. They really are. When I go into the studio, I just think I am called to be there and the only thing that I can think of is that, I look around me and the world is so beautiful. If I could just celebrate some of the beauty of creation, and I know that sounds so corny, that is in fact what I hope for. That is my hope. You see the beauty of the world because you can see the beauty of God that He created and He allows us to see it. Well, I don’t know why you would paint if you weren’t celebrating. I mean, of course, I am a figurative or rep- resentational painter, but I can’t see that it wouldn’t be a problem with abstract painters. That’s what I aspire to, celebrate the beauty of creation. You are talking about the discourse of art communities and the Church. I guess they got off on the wrong foot some couple hundred years ago and the same thing with the Church and science. I see the conflict. Hopefully we can get artists and scientists and Christians to have a group hug. Yeah, one thing you said a minute ago, though, that reminded me: I don’t do overtly religious work — or rarely. Sometimes I do because I have a commission or some- thing. But, I don’t want to do that, because I sort of want to sneak in, if that makes sense. If it’s overtly religious, the world generally isn’t going to pay attention. I have a son who is a priest, for crying out loud. My husband and I are both serious about our faith. If you really look at my work, I hope that it’s not decorative. I hope that after you look at one of my paintings that you would walk away and have a little bit of an understanding of the beauty of creation. Could tell us about your pieces in the exhibit? There are two little piece, only about three inches tall. One is called Pardon Me. It is about the figures being friends for decades. They were toys of my grandmother’s. My grandmother, who knows how old she’d be now, but she really had a lot to do with my up bringing. I spent a lot of time with her and she was very magical. Her little Praying for Rain The Art of Faith Magazine • www.aofmag.com • 53