A few months ago, a friend wrote that she had “just returned from a five-day trip to see the silo art in the Wimmera/Mallee and Northeast Victoria. Wonderful work, and such a boost to the towns that arranged for their people, fauna and flora to be presented in such a wonderful form”. What caught my attention however was the note “A highlight was a mural of Sophia in the tiny Uniting Church at Goorambat”, near Benalla and Wangaratta, Victoria.
Continue reading “Sophia – Goorambat Uniting Church, Victoria”
In late 2021, a friend who’s a theology lecturer showed me a basic Bible books diagram that he’d put together for his students. Then he asked me, “have you thought about creating a book of the Bible artwork?” My first thought was “not really, I mean, I’m no biblical scholar, how in the heavens would I… ?” 
Melbourne artist Christine Sage’s grandfather was, in her words, “a very good Catholic man”. He was also a blacksmith and an inventor, and some of his equipment and tools are still used today.
At his 10-year survey exhibition held at the Mornington Peninsula Art Centre in 1989, Br Patrick Henigan ofm was hailed in the introduction to catalogue as the ‘Don Robert of Australia’. Don Robert, the celebrated Benedictine monk and painter, was seen as the conscience of the French Lurcat tapestry revival in the late 1940s: so Hennigan may be dubbed as the conscience of the new spirit that evolved in Australian drawing from the late 1970s. His spiritual and artistic journey to gain this recognition, however, was hard fought. 
Queenie McKenzie and the Spirit of Mary MacKillop
The Religious Art of Jan Hynes
The traditional art of making an icon is an exacting process requiring much skill and knowledge that can only be acquired over a long period of dedicated commitment to the art. The method that aligns best with the essence of the icon is classical painting with egg tempera, a technique of unknown origins from deep within the ancient world. Adopted and perfected by the icon painters of the early church in Byzantium, the technique has been passed down almost without change to be employed by the few icon painters in our age whose practice remains true to the tradition. 
The Art of William Robinson
My name is Olga Bakhtina. Once in a while, people ask me why I paint Christian scenes. Every time the question comes up it surprises me. What does make a mostly self-taught contemporary artist like me paint Christian stories when so few people do? 
Dr Rebekah Pryor is a visual artist and writer living and working on Boonwurrung/Bunurong Country southeast of Melbourne, Australia. She was a finalist in the 2018 Blake Prize and, from 2015-2018, the curator of Lamppost Gallery, a space dedicated to exploring contemporary art and Christian spirituality. She is an honorary postdoctoral associate at Pilgrim Theological College, University of Divinity. In 2021 she coedited Contemporary Feminist Theologies: Power, Authority, Love (Routledge) and her forthcoming book Motherly: Reimagining the Maternal Body in Feminist Theology and Contemporary Art is due for publication in early 2022.