GRACE CHAPEL MOSAIC

The Grace Chapel Commission

The Completed Mosaics

The Grace Chapel commission was created in 2013 as part of my doctoral dissertation. It consists of twelve large mosaic panels presented in four groups of three, each group corresponding to a specific theological element of the general Christian story.

1. creation

in the beginning

in the beginning was the word

all things bright and beautiful

We begin with Creation, symbolizing the beauty and wonder of the world. The first image echoes the Genesis story of the emergence of the “greater” and “lesser” lights (Genesis 1:16). Note the use of fresh-water pearls and the pendant (donated by a member of the congregation) that forms the center of the lesser light. The next panel is taken from a retelling of the Genesis story in the Gospel of John. Here the ‘word’ (from Chapter 1) is identified as a vine (as described in John 15). In the last panel of the series we return to Genesis 1 – the creation of life, beauty, and wonder (Genesis 1:20-27). Here several items from the congregation have been incorporated into the composition, including a tiny bird at the top and the bright insect near the bottom. Note also how the human figure grasps the vine, taking on the verdant colour of green.

2. distortion

hubris

disconnected

falling

The concept of Distortion lies at the heart of all religions: all is not well. This series echoes the ‘Lucifer story’ in Christian mythology (Isaiah 14:12). Lucifer, an angel blessed by God, decides he no longer needs God; he can depend on himself for all that he desires. The intensity of his hubris, or pride, causes him to grasp the vine too tightly, breaking it, as shown in the first panel. The second panel shows the vine as relatively unaffected, but the bright and beautiful from the creation series has now become darker and duller. The hubris of Lucifer leads to a disconnection from the vine. The leaves have become darker as they drift from the vine, which looks even brighter in the darkness. The freshwater pearls of a darker colour cling to the vine. The final panel in this series shows the leaves, severed from the vine, floating downward as rain or teardrops; only a darkened trace of heavenly blue can be seen scattered among them.

3. redemption

blood stream

the bloody vine

the hopeful quiet

Sacrifice lies at the heart of Redemption. In Christianity, sacrifice is epitomized by the story of Jesus’ death. The story continues; we see a vibrant red running through the dark exterior of the previous panel. Life, we are told, is in the blood (Leviticus 17:11). The center panel revives the vine and leaf motif. This time it is bright red, the colour of blood and passion, calling our attention to the redemptive power of sacrifice. Finally, the red is subdued in the quiet of a tomb, not unlike the exterior of the first panel in the series. But this time, all that is left are tiny red sparks among the charcoal ruins. There is quiet and uncertainty, but hope is still alive.

4. new creation

gold mine

gold leaf

fullness

The final series depicts a New Creation. The red flecks of the previous panel are transformed into gold. Bits of gold chain and other jewelry, again donated by members of the congregation, remind us of the gold reclaimed through the redemptive process. All is made new – again! The gold vine overflows into the leaves; note the small tesserae of twenty-four karat gold leaf in each one. The new creation reaches its zenith as the gold from the vine lends itself to a spectrum of colour in the seven leaves of the final panel. The marble background reveals the vibrancy of movement as the new creation explodes into fullness.

Click here to see the mosaics installed in the Chapel

A few words about the process...

After testing adhesives, supports, colour combinations, and designs, I decided to work these mosaics primarily with marble and Italian smalti (opaque glass paste used in traditional mosaics). I will also include bits of glass, shells, and momentos as provided by the community. The underdrawing and painting serve as a guide to help me stay on track with the composition and create a subtle background that shows in the tiny spaces between the tesserae (tesserae are any small pieces that are used in a mosaic.) Each tessera is cut by hand using the ancient method of 'hammer and hardie,' as seen in the photo. I learned this method from working with mosaic master Luciana Notturni in Ravenna, Italy. The process is labour intensive: it takes about three hours to set a space 8"x10" - and that doesn't include any prep time!