13 Wednesday May 2015
Posted in Critical Religion, University of Stirling
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A visual essay on human experience of architectural sanctuaries throughout the United Kingdom (seen here: Aberfeldy, Coventry, Dunblane, Dunkeld, Glasgow, Iona, Manchester, Salisbury, Tudeley). Selected vertical reflections of light, water, movement, stillness, silence, perspectives, windows, glass, air, holiness, earthiness, ruins, reparation, limitations, and liminality.
All photos taken by Paige M. Medlock Johnson.
08 Tuesday Jul 2014
Posted in Critical Religion, University of Stirling
Prof. Rudy Medlock and Paige Medlock Johnson working on the full-size template for the FAS stained glass window.
My father and I have worked collaboratively on stained glass windows for several years. Although he is primarily a stone sculptor and potter, he learned the art of stained glass about 40 years ago and began teaching it in the art department of Asbury University. As a child, I would get off the school bus at the art department and learn alongside the students how to do fiber arts, ceramics, and stained glass, and as an undergraduate student I chose art education as a major with stained glass as my area of concentration. Since then I have worked with him on several commissioned stained glass projects from the Dominican Republic to Kentucky to Scotland for religious and secular institutions, although that demarcation often becomes blurred in the space of installed stained glass.
Stained glass is traditionally an art inherent with ecclesial associations, but now it is found in all corners of public domain; in a sense stained glass is missional as it has migrated from cathedrals to hospitals, homes and pubs, to galleries and libraries and offices. Stained glass is commissioned for symbolic messages, political agenda, architectural decor, for someone’s honor or memorial, and even still for religious purposes and places of worship, such as chapels and temples and churches. What we have traditionally considered distinctly ‘religious’ or ‘secular’ spaces has, in the placement of stained glass, fused or confused those boundaries.
A commissioning body requests a work of art from an artist or studio whom they know to be reputable, and their conceptual design will be for a specific place and purpose, and include a particular image to communicate that purpose. The artist needs to understand the context for the commission in order to create a visual hermeneutic that fills the intended physical space and fulfills the aesthetic and theoretic need. Here is one example of a commissioned stained glass project that changed imagery, artists, and message, illustrating the significance of commissioning theological imagery today.
The Francis Asbury Society is an organization that exists to promote a message of holiness – that people’s hearts and lives can be renewed to live a holy life in connection with God. The message is promoted via publication, itinerant speakers, and retreats and their headquarters recently moved from a modest cramped office space in the basement of an apartment building to an impressive timber frame building at the entrance to the town that is mostly known for Asbury Theological Seminary and Asbury University. Although FAS shares the same name and town in Kentucky as those two institutions, they are not affiliated.
Stained glass window of Francis Asbury installed at The Upper Room, Nashville, Tennessee.
Bishop Francis Asbury was one of men sent by John Wesley to spread Methodism in America, which he did on horseback from 1771 for 45 years. His message, the heart of Methodism, was to spread the gospel and serve people – heart and hand, faith and good works. When the Francis Asbury Society began construction on their new headquarters, a few years ago they envisioned a stained glass window in the center loft space of the building.
Campaign booklet showing original stained glass image with materials for interior design choices, taken at the studio while working on the new stained glass design.
The overseeing president contacted my father about fulfilling the stained glass project, but upon hearing their desired image, he recommended a different stained glass studio that would be able to work with their desire for a realistic memorial image. After FAS contacted the other studio, the commissioning body still wanted my father to do the stained glass but now they were interested in changing their desired design to a more stylized symbolic image of a Celtic trinity knot, to be interpreted by the artist. They were familiar with The Power of Images and wanted, rather than to honor a person who spread a message, to commission an image of that mysterious message. This was interesting to my father, who then contacted me in Stirling to determine if we wanted to work collaboratively on the project. We both knew the organization and its founder and president, and we both liked the idea of working on a Celtic trinity knot, for its design potential, cultural heritage, and its theological meaning.
The evolving design included a fairly symmetrical geometric modern triquetra with interlocking trefoil, woven through a ring, all superimposed over and interacting with the background of three three-dimensional crosses mirroring the timberframe beams of the building in which it was to be installed.
The stained glass design is about the Trinity, the triune Christian Godhead constubstantial hypostates and relationship between God the Creator, Christ the Messiah, and the Holy Spirit, which is the central mystery distinct to Christianity. Without unnecessarily delving into Trinitarian theology, a simple explanation of the mystery of the trinity is important to understanding why a Christian ministry institution would desire to have this image prominently displayed. This same-essence-different-persons as monotheistic God is not only unique to Christianity but, simplified, is the essence also of Christianity. The illustration of this abstract theological concept by way of triquetra (Celtic trinity knot) and trefoil (architectural triad) is more easily accepted in visual terms than verbal complexity, and it is put forth with aesthetic beauty that is inviting to the viewer.
Like Dewey suggests, this art is experienced as a normal activity, not set apart or autonomous from human living. In fact, this particular stained glass window is installed in the midst of clerical work, scheduled meetings, publications, people in vocation. Unlike Dewey suggests, this art is also experienced spiritually – not set apart from so-called secular living but rather as part of holistic living including the thoughts and the feelings of a spiritual nature. Art can be a spiritual aesthetic experience, not excluded from everyday experience, but rather an everyday experience because it is a spiritual experience, in other words being and doing are not mutually exclusive; it is pragmatic because it is theoretical. This stained glass window can be experienced as artists’ co-creation of visual expression, as theological mystery being wrestled and glorified, as a purely pleasurable moment in passing by, as a creedal affirmation of faith, or even as an invitation to experience the verbally indescribable. It is not so relative that it is not personal, but it is so personal that it is relative.
For visitors to the Francis Asbury Society headquarters now, the stained glass window cannot be missed; as one enters through the front door into the main lobby, the window is centered overhead on the balcony above the main floor entry. Details throughout the building echo the trinity knot motif with wood inlay in the banister woodwork and the unique table configuration in the main meeting room. This stained glass window is here because it cannot not be here. Without it the building would be lacking in visual structure as well as theological foundation. There is a blurring of the sacred/secular where, in this space, the tedium of work becomes infused with the light of something holy while visual theology becomes part of the mundane rituals of work.
FAS stained glass window installed, shows scale, completion, and detailed woodwork.
All photos © Paige Medlock Johnson.
13 Wednesday Nov 2013
Posted in Critical Religion, University of Stirling
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Robert Sowers (1923-1990) created some of the most remarkable stained glass windows in the US during the twentieth century, including the 30,000 panel American Airlines wall at what is now called JFK Airport. His work in 1960 was the largest stained glass window in the world at the time. Terminal 8 stood for 48 years then was demolished for remodeling in 2007, and along with it, the enormous window. One source reports people referred to the airport terminal as ‘The Cathedral’, when in fact, Sowers was a pioneer stained glass artists creating major commissions outside the church. It was demolished less than five decades after its commissioning with suggestions to turn pieces of its glass into key chains for airline employees.
Stained glass reached its height of glory in the medieval period when the average person would not have much exposure to vibrant colors and use of light outside the church. Their experience in the church would have made a physical and spiritual impact. The actual light translated in illuminated visual images was analogous to the scriptural light of God overcoming the evil or chaos of darkness.
The transition from Romanesque to Gothic architecture is most evidenced in the Abbey of St. Denis from the late 12th century under Abbot Suger, who wrote on the theological significance of architectural decisions:
Thus, when – out of the delight in the beauty of the house of God – the loveliness of the many-coloured gems has called me away from external cares, and worthy meditation has induced me to reflect, transferring that which is material to that which is immaterial, on the diversity of the sacred virtues: then it seems to me that I see myself dwelling, as it were, in some strange region of the universe which neither exists entirely in the slime of the earth nor entirely in the purity of Heaven; and that, by the grace of God, I can be transported from this inferior to that higher world in an anagogical manner. [Thiessen, 2005, p116]
Sainte-Chapelle, Paris (photo by P M Medlock Johnson)
Gothic architecture achieved verticality and light by developing certain structural elements (pointed arch, rib vaulting, flying buttresses); this skeletal structure vastly opened up wall space for windows. Stained glass windows were designed to vertical extremes that translated light in color, altering worship atmosphere and illustrating biblical theology. The makers of stained glass knew the limits and possibilities of the material with which they worked in such a way that they could facilitate the optimal brilliance of the finished piece by means of the media. These craftsman knew not only color theory, but that of glass that permits, prohibits, translates, and radiates light. What would a red piece do next to blue rather than clear when sunlight burns through it? What piece would dominate, or recede, or pierce the air? What combination would confuse or enhance the image and the visual experience? Or the worship experience? What would affect the communication and reception of the image, which was generally a biblical message for the common person unable to read the Word. Stained glass of Gothic architecture either illustrated the entire bible, as Sainte-Chapelle has for eight centuries, or a main theme of sinful humanity with hope of salvation through Christ. Alternately, some windows center Christ within purposefully arranged references to other parts of scripture demonstrating rich theological cross-referencing and skilled thoughtful design.
Two factors led to a major shift in the stained glass profession from its height of glory in the Middle Ages to becoming a ‘lost art’ in the Renaissance and Reformation. First, art making became less material-inspired and more imitative of easel painting. Second, iconoclasm (‘image breaking’) of the Protestant Reformation and Dissolution of Monasteries questioned visual imagery as a scriptural violation rather than theological hermeneutic, and effectively removed stained glass from Christian architecture.
But it did not disappear forever. Sir Herbert Read writes, “In our own time, as part of a general return to aesthetic integrity, the art of stained glass has been reconsidered and, indeed, rediscovered. The guiding principle of translucency has been re-established, and, as in the Middle Ages, the greatest artists of our time have experimented in this medium.” [Sowers, 1954, p8] He could rightly foresee glass as an important element of architecture: hiding unsightly views and coloring space, honoring the integrity of art forms, and turning public spaces into inspiring places. In addition to modern artists such as Matisse and Chagall turning from paint to glass, stained glass of the Craft Movement (especially Morris in England, Mackintosh in Scotland, and Wright in America) restored the art from its medieval glory to a contemporary aesthetic, and positioned it as a major element of modern architecture.
Robert Sowers writes, “When art is working it heightens both the materiality and the fantasy of the image; the two are fused in exaltation. But when the material is excited to no purpose, or the image rooted in no material there can be no deep-rooted art.” [Sowers, 1954, p28] His own record-breaking Terminal 8 stained glass window was contracted to Olde Good Glass in New York City to be dismantled and reclaimed into new objects for public sale. Was he wrong?
Stained glass has been installed and removed from religious and secular institutions for seemingly different reasons: sacrilege and outdatedness; it means too much and it means not enough. Perhaps there is an underlying threat worth questioning that only the material can shed light on: glass is an antithetical mediatory material. Isobel Armstrong says we need to work through the paradoxes and contradictions inherent in glass, saying,
They are perceived at a purely formal or aesthetic level unless they generate a “restlessness”, which both reorders a problem and the mind that works on it. This mediation is, in Heidegger’s words, “the form of the very thinking which thinks itself”. It is “the conceiving of oneself—as the grasping of the not-I”.[Armstrong, 2008, p12]
The stained glass process (photo by P M Medlock Johnson)
Humans do not like to grasp the not-I, and if stained glass positions the viewer in such tension, even when crafted in awe-inspiring otherworldly visual ways, it will be removed only to be reinstalled elsewhere. The stained glass profession has thrived and dwindled, but what it professes will not be extinguished. The artistic profession of stained glass making not only revived, but returned its focus to the inherent qualities of the glass. Where stained glass orders chaos by assembling broken pieces into a structured design that illuminates a space with intentionality, it continues to embody the relevance of a timeless yet cutting-edge visual hermeneutic.
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