Sacred Art: Creation and Symbolism (continued)

Here lies the first pitfall. The second one, more dangerous yet, is that immediate one of finding oneself face to face with the source itself of one's inspiration, i.e., the original work which underlies it. And who is the one who can boast of only doing as well as the source of inspiration? No one can do it, this I proclaim loudly and with a high pitch. To write the infinite with simple words; to draw the infinite with simple traits; to think of the infinite with simple images; to paint the infinite with simple hues and colors; all of this constitutes taking the most rightful path which leads into the pneumatmosphere. The most rightful way, but the most difficult because one has to jettison all what he believes in and acquire his own experience through a personal experience.

This is the reason why each artist must find another way to externalize this untouchable which lies in him, with all possible means, techniques, and language of his epoch. Definitely, when heeding the public's desire, we would not have known but one style to be repeated and reiterated forever and ever. Let's not forget as well that, in their respective centuries, Beethoven was not loved, Wagner was misunderstood, and Bach was appreciated, not for his genial inventions but for his virtuoso playing. The list is far from being exhaustive. There comes to me a comforting awareness: the critics made more mistakes than the artists did.

To live in one's era in order to understand it, to leave one's marks on it without fixing it, to love it in order to materialize it without for that denying the past which should serve as a foundation! Create for one's times and in one's times in order to serve God with the best of our skills, for he gave us life Hic et Nunc. Now, he leaves us with a responsibility from which we have no right to escape. To compromise this Art which serves the Church is cheating on God. I will seat you as the judges of the consequences of such an intellectual, moral and artistic stand. In all cases, it is not mine.

In fact, the representational imposes a given image which imposes itself. For my part, I prefer to create a graphic-topic, sufficiently universal ad free to let each and everyone discover the mystery which is sent forth from it.

Hence, a stained glass window is no longer a painting confined within the reaches of its topic, but an open road which should be taken by each and every person and trodden the way he likes it, according to his rhythm and culture.

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