Sacred Art: Creation and Symbolism
express myself, I use the two means within my reach, namely, the
material (which is antique glass) and drawing.
regards glass, I seek, according to the building of which I am
the host, the association of a palette of colors in such a way
that the final outcome which is bestowed upon me – thanks to
the sunlight – is an atmosphere propitious to meditation and
regards drawing or graphic design, I find myself in absolute
harmony with the spirit of Saint Bernard DE CLAIRVEAUX, who
imposed the "non-representational" in stained glass
windows. In fact, he believed that the representation of
characters, with or without a design, would distract the believer
and make him stray away from his prayers; I find this state of
mind in the symbolism of Ancient Maronite Art, initially
influenced by Saint Simon the Stylite. In reality, the first
Phoenician artists found it was, according to Henri Seirig,
"more expressive to substitute to the image the attribute
which seemed to personify and embody the might of God."
and every religious creation must seek as an only and unique aim
that of focussing the mind towards God. The surest means to
accede to God is praying in the most absolute contemplation.
Therefore, the useless hindrances that stand in the way leading
to this state must cease to exist in order to reach the essential.
Consequently, everything that belongs to the domain of anecdote
is not only superfluous, but is mostly "supererogatory".
I would, at the limit, say that stained glass windows depicting
the story of a Biblical character would make the mind stray from
prayer or Mass. The eye is caught by a landscape or a detail, a
piece of clothing or a design.
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