Artist Statement for “Annunciation and Atonement”
GOD FOR US, IN REALITY, THROUGH EARTHLY MEANS
Of note, this artist statement works within the sphere of the art itself. References touch upon qualities of the produced work resulting in conceptual thought. Blessed are we that God works not in concept or symbol, but in the real tangible means of His Holy Word and Holy Sacraments. The reality of his body and blood given for us in the present tense means of the Lord’s Supper is God at work pouring his mercy upon our sinful bodies. I thank God for His real presence. This artwork is a way to reflect God’s love.
CONCEPT BEHIND MEDIUM AND PROCESS
The miter saw blade is the God-figure within the conceptual realm of this art. Its overall shape is circular, speaking to God’s eternity. There’s a sense of awe when this blade seemingly changes form as it spins blurringly in its poetic glide. A powerfully gentle hum accompanies the action.
The table of the miter points toward the altar in the Holy of Holies and the altar at the Lord’s Supper. The God-figure blade comes down to us at the miter saw table paralleled by God coming down to us in Lord’s Supper at the altar. As the cloud of incense billows around the altar at the Supper so does sawdust fill the air as the blade enters the wood.
Approach the miter saw blade incorrectly and you will suffer great destruction. It will tear you up with less than shreds remaining. Approach the miter saw blade correctly within the properly allowed context and things of great beauty and function will be possible. It is through the joyful and respectful function of the God-figure blade (conceptually, conceptually) that this art has taken form.
The miter saw blade is never directly seen in the presentation of the art. Only the results of its work are on display.
The God-figure saw blade crafted this wood through the use of the artist working within the parameters of time and space just as God inspired the authors of the Bible to record His Word through the historical parameters of actual events in history. The artist works similar in course as how pastors in the catholic Church work. That is as instruments of God who distribute His Word.
The wood itself carries important meaning stretching throughout salvation history from the creation of all that’s good and right in a world of God’s liking from loving creatures to preciously pure water to beautiful trees then onto the aberration of the Fall of man at a tree in the Garden to the redemption and restoration of man at the tree to which Christ was crucified.
The stain on the wood shows sin infiltrating man’s essence while the white paint is Christ cloaking us with His righteousness. The stain remains as we live in this world, yet at the same time we are declared righteous in the stead of Christ. We are sinner and also saint.
This helps provides insight for the use of unseen miter saws, the artist’s role in such, and the medium of wood, stain, and paint.