ARTIST'S STATEMENT: This series of essays and paintings is an
attempt to explore some of the religions of the world from the
perspective of an artist. When I look at religious structures, I
view them as attempts to form order out of the parts of our
existence and create a sense of purpose and direction in our lives.
My motivation in creating this series is primarily self-education
and the need I feel to find more meaning and direction in my own
life. In the post-industrial world, the true guidance of religion
has been largely supplanted by economic designs that may or may not
pay lip service to religion. Most of our lives are guided down a
path of consumption and careers that form the purpose of our lives.
It is my intent in these essays and paintings to study alternative
ways of designing our relationships from many cultural sources. The
content of the essays focus on the foundation history of the
religions and the basic moral and ethical teachings of the faith.
It is not my intent to investigate the many variations, factions,
and directions that these basic religions have spawned over the
centuries. The series includes Judaism, Christianity, Islam,
Baha'i, Hinduism, Buddhism, Taoism, Confucianism, Dreaming Religion
of Aboriginal Australia, Inuit Spiritualism, Hopi Religion, and Ifa
Divination of the Yoruba of West Africa. The Designs of Faith
Project was begun in 1992 and completed in 1998. My research
approach to each religion begins with reading the basic religious
writings of the faith if they are available. I then read a sampling
of both the scholarly and spiritual writings on the religion as
well. After taking extensive notes, the framework of the essay
evolves in my mind and the writing begins. Early drafts of the
essay were reviewed by two individuals who have been my valued
friends and critics for many years, Tom Hansen and Legia Spicer.
The completed essay and research experience form the beginning of
the visual inspiration for the canvas. Additional research is done
on the artistic tradition of the faith, stimulating many possible
solutions on how to express my ideas in the language of design. I
then execute an initial 19 1/2" X 16 1/2" watercolor study, working
on five separate pieces of paper to prepare myself for the five
section quintych canvas. A second study of the same size is
sometimes produced, working out the various inadequacies and
problems of the first. I then move on to the production of the 92"
X 79" five sectioned canvas, done with heavy textural acrylics. I
have also produced a statement of symbolism and sources for each
painting to give interested viewers information on the evolution of
the imagery of the quintych. I would like to be clear in that I, in
no way, see this study as being definitive. Each of the religions
covered in the essays and paintings is tremendously complex with an
abundance of variations that have grown from the foundation. People
approach these religions from many different perspectives and for
many different reasons. Their experiences are certainly no less
valid than mine. Designs of Faith has been the most
thought-provoking and enjoyable of any of the research-based
projects I have undertaken in the past eighteen years. I hope I can
share some of this enjoyment and appreciation with others. Mark W.
McGinnis
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