6 Comments

  1. Excellent Inspiring Work – great interview !

  2. Kathryn Niewenhous

    These icons are stunning–the Transfiguration–I’m not sure I can express… it caught me off guard! It is–immediate. Looking at the Hospitality of Abraham reminded me of cloisonné, between the color saturation and the dimensional play between the background and foreground, if I can say it that way. One lifted the other to me, rather, at me. Such vibrancy to it. I see captured in the pictures posted many “schools” flowed into one another and have become something fresh and unique! I am spiritually enriched through it!

  3. “In my opinion, icon painting and the ecclesiastical experience that it embodies have a lot to say nowadays. Actually, for me it constitutes an exit from the deadlock of contemporary civilization.” This comment embodies pretty much everything I believe about why I make liturgical art. I think that liturgical art is the only answer to contemporary art and culture. I also really love how he frames his discussion of Kontoglou, how Kontoglou’s opening up of the icon can also become a closing down, the same with Ouspensky. It is interesting because we hear a lot of criticism and I myself will sometimes look at some contemporary icons and wonder if they are going too far, even with Kordis, but when we read the kind of prayerful and thoughtful engagement Frederico and Kordis and so many others are putting into their work, we cannot but be hopeful that what will ultimately com out will be for the Glory of God.

  4. Bess Crider

    Can you offer further clarification on this idea? “I think the natural need to understand how icon painting works is often distorted and cultural and historical facts are confused with theological notions.” An example would be helpful.

    1. Hello Bess. For example, the practice of copying old icons spreads during the sixteenth century in Crete, when the icons production had to meet the demand of Venetians collectors. That it is an historical fact that nowadays has been connected with the notion of tradition (i.e., there are many people who says if you make an icon without copying you are outside of the tradition), whereas the tradition in the case of the icon painting it means other thing. I hope I have been clearer in my point.

  5. Federico Jose contacted me on his trip to Chile and I congratulate him for his studies and iconographic work. I sensed in him great potential and I am pleased to know young people who may be interested in keeping alive a tradition as old and think that it may actually be an answer to our contemporary time.

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