LAUNCH OF ART EXHIBITION IN AID OF MALAWI
Abbeyleix Library
Thursday 7th September 5pm - 7pm (Admission Free)
Exhibition runs from Wednesday 6 September – Friday 29 September 2017
An Art Exhibition, entitled “In Search of Joy” will be launched at Abbeyleix Library on Thursday 7 September with proceedings kicking off at 5pm. There are 250 items in the collection and the exhibition is being run by Camross woman Josephine Phelan. All proceeds raised will go to develop educational projects in Malawi and in South America.
The exhibition is a colourful collection of acrylic and oil paintings which celebrate the beauty of God’s creation. These paintings are the work of artist Susan Green and some of her photography work will also be on display. Many of the paintings and photographs have also been incorporated in the design of a range of custom-made greeting cards.
To arrange media interviews, please contact Josephine Phelan on 087 952 6412 or Mary Phelan on [email protected] or 086 040 3693.
THE CAUSE
The artist, Susan Green has very kindly donated her paintings and photos and funds raised from the sale of her works will go towards two projects. The first project is the development of the Lusekelo School of Computing in Mzuzu, Malwai. This is part of an NGO (Ungweru) in association with Bishop John Ryan (SPS, Kiltegan). Josephine Phelan works with Bishop John Ryan in continually developing the School. This school provides education in Information and Communication Technology, at a nominal fee, to vulnerable young people in Northern Malawi. The second project is the work of the Missionary Sisters of Our Lady of The Holy Rosary in South America. Sr. Anne Coleman is a member of this order and will be at the exhibition launch. She has spent many years educating street children in Brazil.
Paintings range in price from €30-€150 while photographs range in price from €10-€20. There will also be a range of greeting cards, featuring Susan’s paintings and photographs, available for sale on the night at €1 each.
About the Artist
Susan Green studied music at the Royal Academy in London and is now the resident musician in Mount Melleray Abbey, Co. Waterford, where she has lived and worked for the last 26 years. Susan took up painting and photography to express her joy in her life. Susan has very kindly donated all her paintings and photographs to raise funds for both these deserving projects.
About the Collection
The exhibition is comprised of several sub-collections, among which are the following:
“Mattheson’s List”
This collection of 23 paintings was inspired by the composer Johann Mattheson, who wrote that everything, such as emotions and feelings, could be portrayed in music. Susan takes this a step further by bringing to life, on the canvas, emotions, for example Despair, Humility, Vengeance, Tranquility, Fear, Horror and Lust.
The Heifetz Collection
This collection is inspired by Jascha Heifetz, perhaps the greatest violinist of all time. One of these paintings “St. Peterburg” represents Heifetz, aged 9, with his father, entering St. Petersburg to attend the St. Petersburg Conservatory.
Floating Gardens
These paintings are inspired by Monty Don’s TV series and book “Around the world in 80 Gardens”. These colourful paintings show Susan’s love of colour and love of gardens.
Mount Melleray Collection
Here we have paintings of ponds, the power house, the guest house, the summer house and the windows of Mount Melleray Abbey. Mount Melleray Abbey is situated on the slopes of the Knockmealdown Mountains in Co Wateford and is home to a community of Cistercian monks. Many of the photos on display in the exhibition were taken on the grounds of Mount Melleray Abbey.
Mysteries of the Rosary
The Mysteries of the Rosary collection depicts the artist’s interpretation of the Joyful Mysteries, the Sorrowful Mysteries, the Glorious Mysteries and the Mysteries of light.
Cosmic Butterflies
“Cosmic Butterflies” is a collection which places one of the most fragile of God’s creations, the butterfly, against the backdrop of the biggest and most profound reality we can imagine – the comos.
Windows to Heaven and the Gardens of Eternity
These pictures were conceived in pairs of identical colour schemes, designed to depict the eye’s journey from the viewer’s side of heaven’s “entry point”, through the window, into the scene (the garden) on the other side of the “window”.
MORE DETAILED INFORMATION ON THE PAINTINGS
MATTHESON’S LIST
Introduction
In 1713, Johann Mattheson, a major composer and friend of Handel, wrote that everything could be portrayed in music, and he proceeded to list 32 emotions, feelings, human qualities, states of existence and environment, to illustrate his assertion.* I have called his belief, together with the series of paintings it has inspired, ‘Mattheson’s List’ and have illustrated words on the list with paintings.
These pictures do not set out to be strictly symbolic, although a universal symbol may creep in subconsciously; instead, they aim to evoke the feeling and emotion activated by the word, with the intention of inspiring an empathetic response in the viewer. The pictures are mainly abstract, with the primary emphasis being on colour temperature, and the secondary emphasis being on shape and form. Some of the pictures attempt to convey unpleasant emotions such as jealousy, hatred and lust, and it is to be expected that these paintings will not evoke comfortable feelings in the viewer. Yet our emotional life is not a smooth and even road and we do, if we are honest with ourselves, suffer from turbulent ups and downs (see pictures 14 & 15). I further believe that art should have the self-awareness and honesty to reflect every aspect of our life in order to be truthful,, and if this is to be at the cost of ‘beauty’ sometimes, then so be it. In using the word ‘truthful’, I am not talking about figurative versus abstract; I mean that abstract art,, particularly, should reflect and make manifest that which lies hidden in our hearts …… and the ‘truth will set us free’.
Besides illustrating an individual word and its emotional response, each picture will be accompanied by a Biblical quotation connected with the word it portrays, in order to initiate an entirely new focus on the scene and bring it ‘up to date’, making it immediate either in concept, or emotionally, for the viewer. (For example, in picture 22, we see a gutter, yellow line, and drain and we read a commentary which will eventually connect the viewer with the present-day plight of the homeless poor. If, then, we turn to the New Testament story of Lazarus and Dives, we carry within us that feeling of indulgence created by the picture and feel, perhaps, more deeply in sympathy with the overall meaning of Jesus’ story in the light of our 21st century experience. An admittedly ‘un-beautiful’ painting of a modern-day gutter is, I feel, more likely to have the impact desired by Jesus through his story, than a beautifully executed picture of a middle-eastern gateway, a tattered, bearded beggar, a few palm trees and a collection of stray dogs.) This is, of course, an unusual approach to biblical illustration, but, I hope, nevertheless, that the emotional responses stirred up by these paintings will fruitfully attach themselves to these quotations, and bring them to life in a new and vivid manner.
Before we begin to look at the paintings and enter fully into the spirit of their accompanying texts, I should say a few words about their order of appearance. As I have said, they cover a wide range of emotional states and therefore, in a sense, trace a kind of rocky path of life through the years between our birth on earth and, hopefully, our re-birth into heaven. (Pictures 1 & 30). They can, therefore, be divided into four categories or chapters, beginning with ‘earth’ and ending with ‘happiness’, while encountering many pitfalls and potential disasters along the way, including the fear of hell (6) itself, and the tragedy of ‘despair’ (23). Recovery always follows, however, as in ‘tranquility’ (17) after ‘storm’ (14) and ‘weeping’ (24) after ‘despair’ (23), resulting in ‘humility’ (25) followed by ‘laughter’ (27), joy (28), and ‘happiness’ (30). The viewer may also make his own connections as he contemplates the sequences in this list; (4) and how ‘lust’ (4) can result in ‘horror’ (7). The possibilities are as varied as life itself, and identifying them will, I hope, lead the viewer into a greater appreciation of the manifold qualities of Mattheson’s List and these paintings which accompany it.
Chapter 1 Chapter 2 Chapter 3 Chapter 4
Earth Storm Pride Weeping
Impatience Sea Indifference Humility
Lust Tranquility Despair Mirth
Fear Laughter
Horror Joy
Jealousy Splendour
Baseness Happiness
Pain
Hatred
Vengeance
Chapter 1
“God sent his Son into the world not to condemn the world,, but so that through him the world might be saved’. Jn 3. 17
“Jesus went into the Temple and drove out all those who were selling and buying there; he upset the tables of the money changers and the chairs of those who were selling pigeons. ‘According to scripture’ he said, ‘my house will be called a house of prayer, but you are turning it into a robber’s den.” Matt. 21. 12-14
“If a man looks at a woman lustfully, he has already committed adultery with her in his heart. If your right eye should cause you to sin,, tear it out and throw it away; for it will do you less harm to lose one part of you than to have your whole body thrown into hell.” Matt. 5. 28-29
“The Lord turned and looked straight at Peter, and Peter remembered what the Lord had said to him, ‘Before the cock crows today, you will have disowned me three times.’ And he went outside and wept bitterly. Lk 22. 61-62
“In the fourth watch of the night he went towards them, walking on the lake, and when the disciples saw him walking on the lake they were terrified. ‘It is a ghost’ they said, and cried out in fear. But at once Jesus called out to them, saying, ‘Courage! It is I! Do not be afraid!”. Matt. 14. 26-28
8. Jealousy
A livid, green texture and an evil, blood-spattered eye, constantly on the watch as it weaves its web of pain and mischief. Jealousy brings pain to the victim and perpetrator alike.
“So when the crowd gathered, Pilate said to them, ‘Which do you want me to release for you: Barabbas or Jesus who is called Christ? For Pilate knew it was out of jealousy that they had handed him over. They said ‘Barabbas’. ‘But in that case’,, Pilate said to them, ‘what am I to do with Jesus who is called Christ?’ They all said, ‘Let him be crucified!’ So he took some water, washed his hands in front of the crowd and said, ‘I am innocent of this man’s blood.’ Matt. 27. 22-23
“The lamp of the body is the eye. It follows that if your eye is sound, your whole body will be filled with light. But if your eye is diseased,, your whole body will be all darkness. If then, the light inside you is darkness, what darkness that will be!” Matt. 6. 22-23
10. Pain
An abstract depiction of what might be called ‘visual pain’ onto which the viewer is invited to project his own experience.
“They dressed him up in purple, twisted some thorns into a crown and put it on him. They struck his head with a reed and spat on him.” Mk 15. 17 & 19
11. Hatred
Unrelieved nothingness in black, with a flat rectangle in the centre; like a picture frame whose photograph has been removed and mindfully destroyed because its subject is hated.
“God is light, there is no darkness in him at all. If we say that we are in union with God while we are living in darkness, we are lying because we are not living the truth. Anyone who claims to be in the light but hates his brother is still in the dark.” 1 Jn 5-6 2.9.
12. Vengeance
A tall tree is struck by lightning.
“Let us destroy the tree in its strength, let us cut him off from the land of the living, so that his name may be quickly forgotten! But you, Yahweh Sabaoth,, who pronounce a just sentence, who probe the loins and heart, let me see the vengeance you will take on them, for I have committed my care to you.” Jr. 11. 19-20
Chapter 2
14. Storm
An open window with a net curtain convulsed by a raging storm expresses an inner and outer reality, and in the same way, outward circumstances can stir up a storm of emotions within the inner rooms of our hearts.
“Then he got into the boat followed by his disciples. Without warning, a storm broke over the lake, so violent that the waves were breaking right over the boat. But he was asleep. So they went to him and woke him saying, ‘Save us, Lord, we are going down! And he said to them, ‘Why are you so frightened, you men of little faith?’”
Matt. 8. 23. 26
15. Sea
“He spoke; he summoned the gale, tossing the waves of the sea up to heaven and back into the deep; their soul melted away in their distress. They staggered, reeled like drunken men, for all their skill was gone. Then they cried to the Lord in their need and he rescued them from their distress.” Ps 106 25-28
17. Tranquillity
Outer and inner calm. The storm has passed over, leaving a covering of snow and a glimpse of the moon; the net curtain hangs limp and still.
“And with that, he stood up and rebuked the winds and the sea; and all was calm again. The men were astounded and said, ‘Whatever kind of man is this? Even the winds and the sea obey him?’” Matt. 8. 26-27
Chapter 3
19. Pride
Behind a window of ‘ice’, we have the symbols of institutional power: the national flag (whichever it may be); the crown, for royalty; the mitre for the institutional church and its bishops as governing body; the top hat for the ‘lords of the realm’, representing the government; a bowler hat and umbrella for the financial institutions; the mortar board representing the educational establishment; a wig, for the Law Lords.
A picture expressing elitism, with the ‘ice’ and pride of patriotic class prejudice.
“At this time the disciples came to Jesus and said, ‘Who is the greatest in the kingdom of heaven?’ So he called a little child to him and set the child in front of them. Then he said, ‘I tell you solemnly, unless you change and become like little children you will never enter the kingdom of heaven. And so, the one who makes himself as little as this little child is the greatest in the kingdom of heaven’”.
Matt. 18. 1-4
21. Indifference
The canvas is not even covered with paint and the colours are drab and dull. The black line signifies the cursor on a heart monitor as the patient’s heart stops and he dies. At this stage the patient becomes completely indifferent to all earthly considerations and is leaving it all behind as, willingly or unwillingly, he prepares to meet God.
“He went to his home town … and they would not accept him. And Jesus said to them,, ‘A prophet is only despised in his own country, among his own relations and in his own house; and he could work no miracle there, … he was amazed at their lack of faith.” Matt. 6. 1. 4-6
23. Despair
Rough sand and two black circles representing … tears? Blood? Coins?
“When he found that Jesus had been condemmed, Judas, his betrayer was filled with remorse and took the thirty pieces of silver back to the chief priests and elders. ‘I have sinned; he said, ‘I have betrayed innocent blood.’ ‘What is that to us?’ they replied, ‘That is your concern.’ And flinging down the silver pieces in the sanctuary he made off, and went and hanged himself.” Matt. 27. 3-5
Chapter 4
24. Weeping
Blue pools are fed by falling,, silver, tears.
“One of the Pharisees invited him to a meal. When he arrived at the Pharisee’s house and took his place at table, a woman came in, who had a bad name in the town. She had heard he was dining with the Pharisee and had brought with her an alabaster jar of ointment. She waited behind him at his feet, weeping, and her tears fell on his feet, and she wiped them away with her hair; then she covered his feet with kisses and anointed them with the ointment.” Lk 7. 36-38
25. Humility
Water is often used as a symbol of humility because it is naturally transparent and always finds its way to the lowest place. So here we have a narrow stream of water cascading down over a violet background (violet for penance) into an unpretentious puddle at the very bottom of the picture.
“Come to me, all who labour and are overburdened, and I will give you rest. Shoulder my yoke and learn from me, for I am gentle and humble of heart, and you will find rest for your souls. Yes, my yoke is easy and my burden light.”
Matt. 11. 28-30
26. Mirth
I felt that ‘mirth’ was a muted precursor of ‘laughter’ – a half-way stage, as it were – so the lady in the hat is hiding her ‘mirth’ behind her fan in an effort to appear ‘gentille’.
“But alas for you who are rich: you are having your consolation now. Alas for you who have your fill now: you shall go hungry. Alas for you who laugh now: you shall mourn and weep. Alas for you when the world speaks well of you! This was the way their ancestors treated the false prophets.” Lk 6. 24
27. Laughter
Abstract open mouths with graphic laughter conveyed by white lines. Genuine joy has not yet been achieved, but the seeds have been sown, as by Paul in his preaching to the Athenians:
“At this mention of rising from the dead, some of them burst out laughing; others said, ‘we would like to hear you talk about this again.” Acts 17. 32-33
28. Joy
A window onto ‘Joy’ and balloons tied around the tree to welcome us all home. Although ‘heaven’s’ tree is white and this one is brown and in full blossom, the connection is made and leaves us in no doubt as to the whereabouts of our true home and the cause of our joy.
“I have told you this so that my own joy may be in you and your joy be complete. This is my commandment: love one another as I have loved you.”
Jn 15. 11-12
29. Splendour
Again we have the recurring motif of the window and heaven’s tree,, this time resplendent in gold blossoms and curtains.
“All your creatures shall thank you, O Lord, and your friends shall repeat their blessing. They shall speak of the glory of your reign and declare your might, O God, to make known to men your mighty deeds and the glorious splendour of your reign.”
Ps 144
30. Happiness
A mandala of light, for true happiness has to be experienced within before it can radiate outwards. The golden background recalls the fact that ‘silence is golden’, and it is in silence that happiness can be truly experienced, recognised and appreciated.
“Happy are the pure in heart: they shall see God.” Matt. 5. 8.
The Heifetz Collection
* Jascha Heifetz, the greatest violinist the world has ever known, used this list as a teaching aid and he had it pinned to the notice board in his classroom with the recommendation that: ‘students should be made to memorise this. It could be a corrective against the dry, metrically exact, objective manner in which so much Bach is played’ .
THE HOLY ROSARY: THE JOYFUL MYSTERIES
These five pictures were created by pressing lino cuts covered with acrylic paint onto canvas board. As soon as I began this process I discovered that, instead of producing a flat, over-all covering of paint, each print produced a beautiful, unique pattern which resembled the capillaries which carry blood through the tissues of our flesh. I was delighted by this unforeseen development in the light of the texts of the Rosary, especially the Joyful Mysteries, as exemplified in St. John’s Gospel: “The Word was made flesh, he dwelt amongst us”(Jn1.4)
2nd Joyful Mystery: The Visitation
In the light of this “fiat”, Mary greets Elizabeth, and the two shrouded women are seen, as if from above. The background continues to portray Mary’s submissive “yes” to God, through the continued use of the original “fiat” lino cut, in which the capillaries are particularly clear. The yellow “light” of the Holy Spirit in the first painting is fragmented in the second, but clearly present nonetheless, as the unborn babies and their mothers greet one another in holy joy.
3rd Joyful Mystery: The Nativity
The “fiat” print, once again, predominates within the background painting, and the yellow light of the Holy Spirit is omnipresent, but this time there is a warm glow within the stable as Jesus is born. An uncut, double print of gold surrounds the baby; Joseph is seen with protective arms encircling him, and Mary’s head is bowed in adoration and love.
4th Joyful Mystery: The Presentation
In this painting Mary is seen offering her new-born son to God, in the Holy Spirit. The kneeling figure of Mary in the bottom left-hand corner holds the baby aloft as the pearl-white figure of the Spirit in angelic or bird-like form flies down from the top right corner to receive him.
5th Joyful Mystery: The Finding of the boy Jesus in the Temple
The joy present in the reunion of three people who love each other is reflected in the colours of the background of this picture, and the print of the man with the open arms (perhaps Joseph this time?) is clear and predominant. Yet their submission to the will of God is also represented by the kneeling figure (this time merely a gold outline). The Holy family is bathed in a white light, as if reunited near the door of the Temple (or perhaps they are just setting off for home, back to Nazareth?) and the Holy Spirit print is clearly evident in the three darker squares in the centre of the painting. This places Him “within” the Temple, where the sun is dimmed, but the three squares “reflect” the three figures above, and call to mind the fact that Jesus was missing for three days on this occasion, just as He was three days in the Tomb before his Resurrection from the dead at Easter.
THE HOLY ROSARY: THE SORROWFUL MYSTERIES
In depicting the Sorrowful Mysteries, I felt that a stark simplicity was desirable, in complete contrast to the Joyful Mysteries. I therefore chose an exclusively black and silver palate with which to portray just one figurative aspect of each mystery. It is also evident that darkness is closing in on Jesus as he nears this Crucifixion, in that the black border of each picture becomes progressively wider through the sequence of pictures.
1st Sorrowful Mystery: The Garden of Gethsemane
An olive Tree
2nd Sorrowful Mystery: Jesus is scourged
A whip
3rd Sorrowful Mystery: Jesus is crowned with thorns
His crown
4th Sorrowful Mystery: The Via Dolorosa
A dark, winding road
5th Sorrowful Mystery: The Crucifixion
Jesus’ Cross
THE HOLY ROSARY: THE GLORIOUS MYSTERIES
1st Glorious Mystery: Resurrection
Our Lord, clothed in white, raises himself on one arm as the radiance of the Holy Spirit fills the tomb with energizing light.
2nd Glorious Mystery: Ascension
The Christ figure raises his arms as he blesses his disciples and is lifted, through the clouds, to his father and ours.
3rd Glorious Mystery: Pentecost
Streaks of white light fan out over those awaiting the descent of the Holy Spirit.
THE HOLY ROSARY: THE MYSTERIES OF LIGHT
1st Mystery of Light: Baptism in the river Jordan
Generally depicted by a view of Jesus in the water and a white dove over him, this painting looks downwards onto the water itself, where there are rocks and a bright radiance symbolising the presence of the Spirit of God.
2nd Mystery of Light: The wedding feast at Cana
A semi-abstract depiction of the Holy Spirit flashing over the stone rims of the water jars as their contents are changed into wine.
4th Mystery of Light: Transfiguration
A combination of the figure of Christ transfigured, and the blessed eucharist encased in a monstrance. In both situations, His glory is revealed when regarded with Faith.
COSMIC BUTTERFLIES
Why cosmic butterflies? What is implied by this title?
As the cosmos is the biggest, most profound reality we can imagine, and because the butterfly is one of the most fragile of God’s creations, and as they are both breathtakingly beautiful, it seemed to me that the idea of “cosmic butterflies” had an absolutely incongruous ring to it which, because ludicrous, made one stop and think. The idea of connecting creatures with the galaxies is not new. We have the signs of the Zodiac for instance, with its goat, ram and scorpion etc. “Cosmic butterflies” calls to mind the vast diversity of God’s creation and the idea that the tiniest detail is of value and importance. Through paradox, in an almost humorous and perhaps ironic way, it pits the weakest against the most powerful – and yet the butterflies on the canvas “survive”: they even have galaxies named after them. It is the spirit of the Beatitudes: “the meek shall inherit the earth”. Like the angels, they flit among the stars and although infinitely smaller, are no less beautiful for all that.
WINDOWS AND THE FLAT CANVAS
When a blank lino tile is covered with acrylic paint and printed onto a painted canvas, it is possible to obtain an effect which resembles a frosted window. If a small area of the “frost” is then removed with a brush, allowing the original painting to become clearly manifest, the resulting image gives the impression of a “break through” from behind the canvas into the area inhabited by the viewer of the picture.
WINDOWS TO HEAVEN AND GARDENS OF ETERNITY
These pictures were conceived in pairs of identical colour schemes, designed to depict the eye’s journey from the viewer’s side of heaven’s “entry point”, through the window, into the scene (the garden) on the other side of the “window”. They are all the result of spreading acrylic paints onto uncut lino tiles and printing them onto blank canvas boards.
This process appeals to me because, through these prints, I am exploring the notion of “productive inaction” which, in its turn, can also be seen as akin to the “prayer of quiet”. Once the paint-laden lino is pressed onto the canvas I can only remain completely still and in the present moment, attempt to “do” nothing. I cannot even see what is happening under the lino, yet I trust that when the canvas is finally revealed as the lino is lifted, all will be well and even beautiful. No movement, just attentive waiting in the eternal “now”.
The lino prints can never be replicated. Each one is a unique happening of the moment as the paint chooses its unseen, uncontrolled course. The “moment” is unique unto it and will never come again in the same form. This “stillness” is worth paying absolute attention to. It is God’s gift, like the painting.
The “capillary” effect produced by the printing process illustrates perfectly the organic nature of these “gardens” pictures, but if these gardens had been on earth, they would have withered and faded as time took its inevitable toll. However, they are “heaven’s gardens” which will never wither and die, so it is appropriate that they be, as it were, “caught” in the paint, over which the ticking clock has now power.
Abbeyleix Library
Thursday 7th September 5pm - 7pm (Admission Free)
Exhibition runs from Wednesday 6 September – Friday 29 September 2017
An Art Exhibition, entitled “In Search of Joy” will be launched at Abbeyleix Library on Thursday 7 September with proceedings kicking off at 5pm. There are 250 items in the collection and the exhibition is being run by Camross woman Josephine Phelan. All proceeds raised will go to develop educational projects in Malawi and in South America.
The exhibition is a colourful collection of acrylic and oil paintings which celebrate the beauty of God’s creation. These paintings are the work of artist Susan Green and some of her photography work will also be on display. Many of the paintings and photographs have also been incorporated in the design of a range of custom-made greeting cards.
To arrange media interviews, please contact Josephine Phelan on 087 952 6412 or Mary Phelan on [email protected] or 086 040 3693.
THE CAUSE
The artist, Susan Green has very kindly donated her paintings and photos and funds raised from the sale of her works will go towards two projects. The first project is the development of the Lusekelo School of Computing in Mzuzu, Malwai. This is part of an NGO (Ungweru) in association with Bishop John Ryan (SPS, Kiltegan). Josephine Phelan works with Bishop John Ryan in continually developing the School. This school provides education in Information and Communication Technology, at a nominal fee, to vulnerable young people in Northern Malawi. The second project is the work of the Missionary Sisters of Our Lady of The Holy Rosary in South America. Sr. Anne Coleman is a member of this order and will be at the exhibition launch. She has spent many years educating street children in Brazil.
Paintings range in price from €30-€150 while photographs range in price from €10-€20. There will also be a range of greeting cards, featuring Susan’s paintings and photographs, available for sale on the night at €1 each.
About the Artist
Susan Green studied music at the Royal Academy in London and is now the resident musician in Mount Melleray Abbey, Co. Waterford, where she has lived and worked for the last 26 years. Susan took up painting and photography to express her joy in her life. Susan has very kindly donated all her paintings and photographs to raise funds for both these deserving projects.
About the Collection
The exhibition is comprised of several sub-collections, among which are the following:
“Mattheson’s List”
This collection of 23 paintings was inspired by the composer Johann Mattheson, who wrote that everything, such as emotions and feelings, could be portrayed in music. Susan takes this a step further by bringing to life, on the canvas, emotions, for example Despair, Humility, Vengeance, Tranquility, Fear, Horror and Lust.
The Heifetz Collection
This collection is inspired by Jascha Heifetz, perhaps the greatest violinist of all time. One of these paintings “St. Peterburg” represents Heifetz, aged 9, with his father, entering St. Petersburg to attend the St. Petersburg Conservatory.
Floating Gardens
These paintings are inspired by Monty Don’s TV series and book “Around the world in 80 Gardens”. These colourful paintings show Susan’s love of colour and love of gardens.
Mount Melleray Collection
Here we have paintings of ponds, the power house, the guest house, the summer house and the windows of Mount Melleray Abbey. Mount Melleray Abbey is situated on the slopes of the Knockmealdown Mountains in Co Wateford and is home to a community of Cistercian monks. Many of the photos on display in the exhibition were taken on the grounds of Mount Melleray Abbey.
Mysteries of the Rosary
The Mysteries of the Rosary collection depicts the artist’s interpretation of the Joyful Mysteries, the Sorrowful Mysteries, the Glorious Mysteries and the Mysteries of light.
Cosmic Butterflies
“Cosmic Butterflies” is a collection which places one of the most fragile of God’s creations, the butterfly, against the backdrop of the biggest and most profound reality we can imagine – the comos.
Windows to Heaven and the Gardens of Eternity
These pictures were conceived in pairs of identical colour schemes, designed to depict the eye’s journey from the viewer’s side of heaven’s “entry point”, through the window, into the scene (the garden) on the other side of the “window”.
MORE DETAILED INFORMATION ON THE PAINTINGS
MATTHESON’S LIST
Introduction
In 1713, Johann Mattheson, a major composer and friend of Handel, wrote that everything could be portrayed in music, and he proceeded to list 32 emotions, feelings, human qualities, states of existence and environment, to illustrate his assertion.* I have called his belief, together with the series of paintings it has inspired, ‘Mattheson’s List’ and have illustrated words on the list with paintings.
These pictures do not set out to be strictly symbolic, although a universal symbol may creep in subconsciously; instead, they aim to evoke the feeling and emotion activated by the word, with the intention of inspiring an empathetic response in the viewer. The pictures are mainly abstract, with the primary emphasis being on colour temperature, and the secondary emphasis being on shape and form. Some of the pictures attempt to convey unpleasant emotions such as jealousy, hatred and lust, and it is to be expected that these paintings will not evoke comfortable feelings in the viewer. Yet our emotional life is not a smooth and even road and we do, if we are honest with ourselves, suffer from turbulent ups and downs (see pictures 14 & 15). I further believe that art should have the self-awareness and honesty to reflect every aspect of our life in order to be truthful,, and if this is to be at the cost of ‘beauty’ sometimes, then so be it. In using the word ‘truthful’, I am not talking about figurative versus abstract; I mean that abstract art,, particularly, should reflect and make manifest that which lies hidden in our hearts …… and the ‘truth will set us free’.
Besides illustrating an individual word and its emotional response, each picture will be accompanied by a Biblical quotation connected with the word it portrays, in order to initiate an entirely new focus on the scene and bring it ‘up to date’, making it immediate either in concept, or emotionally, for the viewer. (For example, in picture 22, we see a gutter, yellow line, and drain and we read a commentary which will eventually connect the viewer with the present-day plight of the homeless poor. If, then, we turn to the New Testament story of Lazarus and Dives, we carry within us that feeling of indulgence created by the picture and feel, perhaps, more deeply in sympathy with the overall meaning of Jesus’ story in the light of our 21st century experience. An admittedly ‘un-beautiful’ painting of a modern-day gutter is, I feel, more likely to have the impact desired by Jesus through his story, than a beautifully executed picture of a middle-eastern gateway, a tattered, bearded beggar, a few palm trees and a collection of stray dogs.) This is, of course, an unusual approach to biblical illustration, but, I hope, nevertheless, that the emotional responses stirred up by these paintings will fruitfully attach themselves to these quotations, and bring them to life in a new and vivid manner.
Before we begin to look at the paintings and enter fully into the spirit of their accompanying texts, I should say a few words about their order of appearance. As I have said, they cover a wide range of emotional states and therefore, in a sense, trace a kind of rocky path of life through the years between our birth on earth and, hopefully, our re-birth into heaven. (Pictures 1 & 30). They can, therefore, be divided into four categories or chapters, beginning with ‘earth’ and ending with ‘happiness’, while encountering many pitfalls and potential disasters along the way, including the fear of hell (6) itself, and the tragedy of ‘despair’ (23). Recovery always follows, however, as in ‘tranquility’ (17) after ‘storm’ (14) and ‘weeping’ (24) after ‘despair’ (23), resulting in ‘humility’ (25) followed by ‘laughter’ (27), joy (28), and ‘happiness’ (30). The viewer may also make his own connections as he contemplates the sequences in this list; (4) and how ‘lust’ (4) can result in ‘horror’ (7). The possibilities are as varied as life itself, and identifying them will, I hope, lead the viewer into a greater appreciation of the manifold qualities of Mattheson’s List and these paintings which accompany it.
Chapter 1 Chapter 2 Chapter 3 Chapter 4
Earth Storm Pride Weeping
Impatience Sea Indifference Humility
Lust Tranquility Despair Mirth
Fear Laughter
Horror Joy
Jealousy Splendour
Baseness Happiness
Pain
Hatred
Vengeance
Chapter 1
- Earth
“God sent his Son into the world not to condemn the world,, but so that through him the world might be saved’. Jn 3. 17
- Impatience
“Jesus went into the Temple and drove out all those who were selling and buying there; he upset the tables of the money changers and the chairs of those who were selling pigeons. ‘According to scripture’ he said, ‘my house will be called a house of prayer, but you are turning it into a robber’s den.” Matt. 21. 12-14
- Lust
“If a man looks at a woman lustfully, he has already committed adultery with her in his heart. If your right eye should cause you to sin,, tear it out and throw it away; for it will do you less harm to lose one part of you than to have your whole body thrown into hell.” Matt. 5. 28-29
- Fear
“The Lord turned and looked straight at Peter, and Peter remembered what the Lord had said to him, ‘Before the cock crows today, you will have disowned me three times.’ And he went outside and wept bitterly. Lk 22. 61-62
- Horror
“In the fourth watch of the night he went towards them, walking on the lake, and when the disciples saw him walking on the lake they were terrified. ‘It is a ghost’ they said, and cried out in fear. But at once Jesus called out to them, saying, ‘Courage! It is I! Do not be afraid!”. Matt. 14. 26-28
8. Jealousy
A livid, green texture and an evil, blood-spattered eye, constantly on the watch as it weaves its web of pain and mischief. Jealousy brings pain to the victim and perpetrator alike.
“So when the crowd gathered, Pilate said to them, ‘Which do you want me to release for you: Barabbas or Jesus who is called Christ? For Pilate knew it was out of jealousy that they had handed him over. They said ‘Barabbas’. ‘But in that case’,, Pilate said to them, ‘what am I to do with Jesus who is called Christ?’ They all said, ‘Let him be crucified!’ So he took some water, washed his hands in front of the crowd and said, ‘I am innocent of this man’s blood.’ Matt. 27. 22-23
- Baseness
“The lamp of the body is the eye. It follows that if your eye is sound, your whole body will be filled with light. But if your eye is diseased,, your whole body will be all darkness. If then, the light inside you is darkness, what darkness that will be!” Matt. 6. 22-23
10. Pain
An abstract depiction of what might be called ‘visual pain’ onto which the viewer is invited to project his own experience.
“They dressed him up in purple, twisted some thorns into a crown and put it on him. They struck his head with a reed and spat on him.” Mk 15. 17 & 19
11. Hatred
Unrelieved nothingness in black, with a flat rectangle in the centre; like a picture frame whose photograph has been removed and mindfully destroyed because its subject is hated.
“God is light, there is no darkness in him at all. If we say that we are in union with God while we are living in darkness, we are lying because we are not living the truth. Anyone who claims to be in the light but hates his brother is still in the dark.” 1 Jn 5-6 2.9.
12. Vengeance
A tall tree is struck by lightning.
“Let us destroy the tree in its strength, let us cut him off from the land of the living, so that his name may be quickly forgotten! But you, Yahweh Sabaoth,, who pronounce a just sentence, who probe the loins and heart, let me see the vengeance you will take on them, for I have committed my care to you.” Jr. 11. 19-20
Chapter 2
14. Storm
An open window with a net curtain convulsed by a raging storm expresses an inner and outer reality, and in the same way, outward circumstances can stir up a storm of emotions within the inner rooms of our hearts.
“Then he got into the boat followed by his disciples. Without warning, a storm broke over the lake, so violent that the waves were breaking right over the boat. But he was asleep. So they went to him and woke him saying, ‘Save us, Lord, we are going down! And he said to them, ‘Why are you so frightened, you men of little faith?’”
Matt. 8. 23. 26
15. Sea
“He spoke; he summoned the gale, tossing the waves of the sea up to heaven and back into the deep; their soul melted away in their distress. They staggered, reeled like drunken men, for all their skill was gone. Then they cried to the Lord in their need and he rescued them from their distress.” Ps 106 25-28
17. Tranquillity
Outer and inner calm. The storm has passed over, leaving a covering of snow and a glimpse of the moon; the net curtain hangs limp and still.
“And with that, he stood up and rebuked the winds and the sea; and all was calm again. The men were astounded and said, ‘Whatever kind of man is this? Even the winds and the sea obey him?’” Matt. 8. 26-27
Chapter 3
19. Pride
Behind a window of ‘ice’, we have the symbols of institutional power: the national flag (whichever it may be); the crown, for royalty; the mitre for the institutional church and its bishops as governing body; the top hat for the ‘lords of the realm’, representing the government; a bowler hat and umbrella for the financial institutions; the mortar board representing the educational establishment; a wig, for the Law Lords.
A picture expressing elitism, with the ‘ice’ and pride of patriotic class prejudice.
“At this time the disciples came to Jesus and said, ‘Who is the greatest in the kingdom of heaven?’ So he called a little child to him and set the child in front of them. Then he said, ‘I tell you solemnly, unless you change and become like little children you will never enter the kingdom of heaven. And so, the one who makes himself as little as this little child is the greatest in the kingdom of heaven’”.
Matt. 18. 1-4
21. Indifference
The canvas is not even covered with paint and the colours are drab and dull. The black line signifies the cursor on a heart monitor as the patient’s heart stops and he dies. At this stage the patient becomes completely indifferent to all earthly considerations and is leaving it all behind as, willingly or unwillingly, he prepares to meet God.
“He went to his home town … and they would not accept him. And Jesus said to them,, ‘A prophet is only despised in his own country, among his own relations and in his own house; and he could work no miracle there, … he was amazed at their lack of faith.” Matt. 6. 1. 4-6
23. Despair
Rough sand and two black circles representing … tears? Blood? Coins?
“When he found that Jesus had been condemmed, Judas, his betrayer was filled with remorse and took the thirty pieces of silver back to the chief priests and elders. ‘I have sinned; he said, ‘I have betrayed innocent blood.’ ‘What is that to us?’ they replied, ‘That is your concern.’ And flinging down the silver pieces in the sanctuary he made off, and went and hanged himself.” Matt. 27. 3-5
Chapter 4
24. Weeping
Blue pools are fed by falling,, silver, tears.
“One of the Pharisees invited him to a meal. When he arrived at the Pharisee’s house and took his place at table, a woman came in, who had a bad name in the town. She had heard he was dining with the Pharisee and had brought with her an alabaster jar of ointment. She waited behind him at his feet, weeping, and her tears fell on his feet, and she wiped them away with her hair; then she covered his feet with kisses and anointed them with the ointment.” Lk 7. 36-38
25. Humility
Water is often used as a symbol of humility because it is naturally transparent and always finds its way to the lowest place. So here we have a narrow stream of water cascading down over a violet background (violet for penance) into an unpretentious puddle at the very bottom of the picture.
“Come to me, all who labour and are overburdened, and I will give you rest. Shoulder my yoke and learn from me, for I am gentle and humble of heart, and you will find rest for your souls. Yes, my yoke is easy and my burden light.”
Matt. 11. 28-30
26. Mirth
I felt that ‘mirth’ was a muted precursor of ‘laughter’ – a half-way stage, as it were – so the lady in the hat is hiding her ‘mirth’ behind her fan in an effort to appear ‘gentille’.
“But alas for you who are rich: you are having your consolation now. Alas for you who have your fill now: you shall go hungry. Alas for you who laugh now: you shall mourn and weep. Alas for you when the world speaks well of you! This was the way their ancestors treated the false prophets.” Lk 6. 24
27. Laughter
Abstract open mouths with graphic laughter conveyed by white lines. Genuine joy has not yet been achieved, but the seeds have been sown, as by Paul in his preaching to the Athenians:
“At this mention of rising from the dead, some of them burst out laughing; others said, ‘we would like to hear you talk about this again.” Acts 17. 32-33
28. Joy
A window onto ‘Joy’ and balloons tied around the tree to welcome us all home. Although ‘heaven’s’ tree is white and this one is brown and in full blossom, the connection is made and leaves us in no doubt as to the whereabouts of our true home and the cause of our joy.
“I have told you this so that my own joy may be in you and your joy be complete. This is my commandment: love one another as I have loved you.”
Jn 15. 11-12
29. Splendour
Again we have the recurring motif of the window and heaven’s tree,, this time resplendent in gold blossoms and curtains.
“All your creatures shall thank you, O Lord, and your friends shall repeat their blessing. They shall speak of the glory of your reign and declare your might, O God, to make known to men your mighty deeds and the glorious splendour of your reign.”
Ps 144
30. Happiness
A mandala of light, for true happiness has to be experienced within before it can radiate outwards. The golden background recalls the fact that ‘silence is golden’, and it is in silence that happiness can be truly experienced, recognised and appreciated.
“Happy are the pure in heart: they shall see God.” Matt. 5. 8.
The Heifetz Collection
* Jascha Heifetz, the greatest violinist the world has ever known, used this list as a teaching aid and he had it pinned to the notice board in his classroom with the recommendation that: ‘students should be made to memorise this. It could be a corrective against the dry, metrically exact, objective manner in which so much Bach is played’ .
THE HOLY ROSARY: THE JOYFUL MYSTERIES
These five pictures were created by pressing lino cuts covered with acrylic paint onto canvas board. As soon as I began this process I discovered that, instead of producing a flat, over-all covering of paint, each print produced a beautiful, unique pattern which resembled the capillaries which carry blood through the tissues of our flesh. I was delighted by this unforeseen development in the light of the texts of the Rosary, especially the Joyful Mysteries, as exemplified in St. John’s Gospel: “The Word was made flesh, he dwelt amongst us”(Jn1.4)
2nd Joyful Mystery: The Visitation
In the light of this “fiat”, Mary greets Elizabeth, and the two shrouded women are seen, as if from above. The background continues to portray Mary’s submissive “yes” to God, through the continued use of the original “fiat” lino cut, in which the capillaries are particularly clear. The yellow “light” of the Holy Spirit in the first painting is fragmented in the second, but clearly present nonetheless, as the unborn babies and their mothers greet one another in holy joy.
3rd Joyful Mystery: The Nativity
The “fiat” print, once again, predominates within the background painting, and the yellow light of the Holy Spirit is omnipresent, but this time there is a warm glow within the stable as Jesus is born. An uncut, double print of gold surrounds the baby; Joseph is seen with protective arms encircling him, and Mary’s head is bowed in adoration and love.
4th Joyful Mystery: The Presentation
In this painting Mary is seen offering her new-born son to God, in the Holy Spirit. The kneeling figure of Mary in the bottom left-hand corner holds the baby aloft as the pearl-white figure of the Spirit in angelic or bird-like form flies down from the top right corner to receive him.
5th Joyful Mystery: The Finding of the boy Jesus in the Temple
The joy present in the reunion of three people who love each other is reflected in the colours of the background of this picture, and the print of the man with the open arms (perhaps Joseph this time?) is clear and predominant. Yet their submission to the will of God is also represented by the kneeling figure (this time merely a gold outline). The Holy family is bathed in a white light, as if reunited near the door of the Temple (or perhaps they are just setting off for home, back to Nazareth?) and the Holy Spirit print is clearly evident in the three darker squares in the centre of the painting. This places Him “within” the Temple, where the sun is dimmed, but the three squares “reflect” the three figures above, and call to mind the fact that Jesus was missing for three days on this occasion, just as He was three days in the Tomb before his Resurrection from the dead at Easter.
THE HOLY ROSARY: THE SORROWFUL MYSTERIES
In depicting the Sorrowful Mysteries, I felt that a stark simplicity was desirable, in complete contrast to the Joyful Mysteries. I therefore chose an exclusively black and silver palate with which to portray just one figurative aspect of each mystery. It is also evident that darkness is closing in on Jesus as he nears this Crucifixion, in that the black border of each picture becomes progressively wider through the sequence of pictures.
1st Sorrowful Mystery: The Garden of Gethsemane
An olive Tree
2nd Sorrowful Mystery: Jesus is scourged
A whip
3rd Sorrowful Mystery: Jesus is crowned with thorns
His crown
4th Sorrowful Mystery: The Via Dolorosa
A dark, winding road
5th Sorrowful Mystery: The Crucifixion
Jesus’ Cross
THE HOLY ROSARY: THE GLORIOUS MYSTERIES
1st Glorious Mystery: Resurrection
Our Lord, clothed in white, raises himself on one arm as the radiance of the Holy Spirit fills the tomb with energizing light.
2nd Glorious Mystery: Ascension
The Christ figure raises his arms as he blesses his disciples and is lifted, through the clouds, to his father and ours.
3rd Glorious Mystery: Pentecost
Streaks of white light fan out over those awaiting the descent of the Holy Spirit.
THE HOLY ROSARY: THE MYSTERIES OF LIGHT
1st Mystery of Light: Baptism in the river Jordan
Generally depicted by a view of Jesus in the water and a white dove over him, this painting looks downwards onto the water itself, where there are rocks and a bright radiance symbolising the presence of the Spirit of God.
2nd Mystery of Light: The wedding feast at Cana
A semi-abstract depiction of the Holy Spirit flashing over the stone rims of the water jars as their contents are changed into wine.
4th Mystery of Light: Transfiguration
A combination of the figure of Christ transfigured, and the blessed eucharist encased in a monstrance. In both situations, His glory is revealed when regarded with Faith.
COSMIC BUTTERFLIES
Why cosmic butterflies? What is implied by this title?
As the cosmos is the biggest, most profound reality we can imagine, and because the butterfly is one of the most fragile of God’s creations, and as they are both breathtakingly beautiful, it seemed to me that the idea of “cosmic butterflies” had an absolutely incongruous ring to it which, because ludicrous, made one stop and think. The idea of connecting creatures with the galaxies is not new. We have the signs of the Zodiac for instance, with its goat, ram and scorpion etc. “Cosmic butterflies” calls to mind the vast diversity of God’s creation and the idea that the tiniest detail is of value and importance. Through paradox, in an almost humorous and perhaps ironic way, it pits the weakest against the most powerful – and yet the butterflies on the canvas “survive”: they even have galaxies named after them. It is the spirit of the Beatitudes: “the meek shall inherit the earth”. Like the angels, they flit among the stars and although infinitely smaller, are no less beautiful for all that.
- Galaxy of the Brimstones
- Galaxy of the Adonis
- Galaxy of the Peacock
- Galaxy of the Yellow Clouds
WINDOWS AND THE FLAT CANVAS
When a blank lino tile is covered with acrylic paint and printed onto a painted canvas, it is possible to obtain an effect which resembles a frosted window. If a small area of the “frost” is then removed with a brush, allowing the original painting to become clearly manifest, the resulting image gives the impression of a “break through” from behind the canvas into the area inhabited by the viewer of the picture.
WINDOWS TO HEAVEN AND GARDENS OF ETERNITY
These pictures were conceived in pairs of identical colour schemes, designed to depict the eye’s journey from the viewer’s side of heaven’s “entry point”, through the window, into the scene (the garden) on the other side of the “window”. They are all the result of spreading acrylic paints onto uncut lino tiles and printing them onto blank canvas boards.
This process appeals to me because, through these prints, I am exploring the notion of “productive inaction” which, in its turn, can also be seen as akin to the “prayer of quiet”. Once the paint-laden lino is pressed onto the canvas I can only remain completely still and in the present moment, attempt to “do” nothing. I cannot even see what is happening under the lino, yet I trust that when the canvas is finally revealed as the lino is lifted, all will be well and even beautiful. No movement, just attentive waiting in the eternal “now”.
The lino prints can never be replicated. Each one is a unique happening of the moment as the paint chooses its unseen, uncontrolled course. The “moment” is unique unto it and will never come again in the same form. This “stillness” is worth paying absolute attention to. It is God’s gift, like the painting.
The “capillary” effect produced by the printing process illustrates perfectly the organic nature of these “gardens” pictures, but if these gardens had been on earth, they would have withered and faded as time took its inevitable toll. However, they are “heaven’s gardens” which will never wither and die, so it is appropriate that they be, as it were, “caught” in the paint, over which the ticking clock has now power.