Sacred Art: Creation and Symbolism (continued)

The beautiful is nothing but the revelation of the intuition regarding the existence of God. God is universal, therefore, the writing which is supposed to glorify Him must be as universal as possible. It is through these symbols, the simplest ones, designed in such a way as to respond to the handful of esthetic laws that the message must be conveyed in watermarks. This is what I shall call submission to an inner "order".

More than just non-representational, we must think about the abstraction term to make a person, following his meditation, feel the mystery hidden behind appearances. Jesus taught through parables and a parable is the absolute form of abstraction. If I see the image of a saint, I don't necessarily experience a mystical yearning. I must mostly know and delve deep into His sacred ideas which will serve as a springboard for the accession to God.

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In all cases, I try to give power and nobility to this Art which I offer to humanity. I insert in there what seems to be my heart qualities. I send forth a hymn or an incantation, in a permanent quest for an ideal. The unique engine which makes me move on is Love, the one which gives to Man and which struggles against ignorance and darkness.

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"You are dust and to dust you shall return!" This is what defines the precariousness of Man in his weakness. But isn't this speck of dust a matter substance in itself? Potential power then? And what if we collect these specks of dust in a strong force of cohesion, won't we be creating rock, this molecule of a mountain? And everything is the division and the multiplication of a whole and of the unity. This is how I imagine the cathedral and church builders, as men who are aware of being the mirror of God, erecting a building for His sake, piling up stones (dust of men), stones which are cemented by faith and sweat. Men carving men! And the abbey, this proportion of a mountain, however multiple of dust, isn't it the timeless Man watching over the carnal Man, this cenobite keen on silence (God), on nature (God), on God (Man), on Man (God)> But are we sensitive to the silence of God's nature in Man or are we so powerless to distinguish the nature of Man's silence in God? As to us, artists of today, we who put our stained glass windows, are we aware of this immense heritage sealed by this Faith and this Sweat?

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