ALTARS

Stained glass is most commonly associated with historical religion. We find them in centuries-old places of worship, these buildings and landmarks that have long been associated with man and the Presence. These places marked a meeting place, an altar. I love the physicality of a man-made window, the very best (or worst) of us brought together, coming to life when the Light pours through. Without it, a window is nothing—even stained glass.  

I have used that association within my work to represent how various situations, circumstances or periods within my own life have become altars. Bright colours and clarity. Light. Transformative meeting places of ash, rock, shimmer and gold. Of blood and tears, brokenness and transcendence. Sometimes the choice to build an altar is out of joy, sometimes desperation, or deep sadness. The point, though, is living and embracing a liturgical life. I have been unable to separate my own journey from His Presence or purpose.

There is a topographical element to my work. Landmark shapes such as mountains or valleys, barriers or well-trodden paths. Considering mountain and rock shapes, abstracting them and referring to them as expressions of strength in humility, patience, and yieldedness. The proximity of blurred lines, heavy strokes, delicate contours, and bold colours infer the myriad of decisions, events, conquests, and failings that make up a life spent on pilgrimage.

These works are maps and memories, depictions of markers and signposts, and memoirs of grace, discipline, failure and hope. While there is breath and day and night, there are altars.