November 2022

Publisher |BishopGeoffreyWoodcroft Editor |JudeClaude Accounting |JoyValencerina Advertising |AngelaRush Layout&design | cityfolkcreative.ca

Rupert’sLandNews ispublished10timesper year(September-June)bytheDioceseof Rupert’sLand,intheAnglicanChurchin Canada.Itconnectschurchesandcommunities fromPortagelaPrairie,MB,toAtikokan,ON, byofferingnews,events,opinions,andideas to4,000readerspermonth.RLNisavailablein avarietyofformats: Website • Facebook • Twitter

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RLNexiststoexploreissuesattheintersections offaithandlife.Indoingsowesolicitand publisharangeofopinions,notallofwhich reflecttheofficialpositionsoftheDiocese. Weacknowledgethatwemeetandworkin Treaty1,2,and3Land,thetraditionallandof theAnishinaabe,Cree,andDakotapeopleand thehomelandoftheMetisNation.Weare gratefulfortheirstewardshipofthislandand theirhospitalitywhichallowsustolive,work, andserveGodtheCreatorhere.

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Contentscopyright2022by Rupert’sLand News.Allrightsreserved. Cover: RamezE.Nassif

Thephrase“saintsinlight,”isusedin1Col 1:12todescribeChristianswhohavedied.The deadaredescribedinacontinuitywiththe livingChristiancommunity,whoareelsewhere characterizedsimilarlyas“saints”(or“holy”/ “theholy”),andwhowalkinthesame phōti,or lightofGod,whichthedeadaresaidtoinhabit.

Christianitydoesnotdenythatthedeadare inarealwaydeadtous.As KarlRahnerhasput it,thedead“imitatethesilenceoftheirGod.”

Thissilencecausesthelivinggreatpain.But namingthesaints“inlight”alsosignalsour hopeintheresurrection—ourhopethatour deathsaretouchedbythepaschalmysteryof Christ.Finally,thecontinuityof“saints”and “light”withthelivingcommunityspeakstothe waysinwhichwecontinueinthelifeofthose whohavediedaswecontinuetoshareinthe lifeoftheSpirithere.

OscarRomero,theCatholicArchbishopof SanSalvadorwasassassinatedwhilepresiding atmassin1980.ThroughouttheSalvadoran CivilWarRomerohadorganizedagainstthe everydayoppressionofimpoverishedpeoples, andagainsttheoverwhelmingviolence perpetratedbytheSalvadorangovernment throughoutthewar.Priortohisdeath,Romero hadstated“Idonotbelieveindeathwithout resurrection.Iftheykillme,Iwillriseagaininthe peopleofElSalvador.”

In2015 whenRomerowasbeingofficially recognizedasasaintbytheCatholicchurch, gatherersinElSalvadorchanted“Seve,sesiente Romeroestapresente,”meaning“Weseeit.We feelit.Romeroispresent”athiscommemoration. Thischantresonateswiththemultiplestressesof “saintsinlight.”InaffirmingRomero’spresence, thechanterstestifytohismurder,andwithhim themurderofthousandsofSalvadorans.The chantisalsodesirousandexpectant,gesturing

towardsthemysteryofresurrection.Finally,the chantatteststotheongoinglifeofthegospel whichRomerowascommittedto,presentinthe gatheredcommunity.

Thislastemphasisispoignantgiventhat thephrase“Seve,sesienteelromeroesta presente”isavariationon“Seve,sesiente,el puebloestapresente”whichmeans“Weseeit, wefeelit,thepeoplearepresent.”Thispopular protestchanttestifiestocollectiveresistance andtheirrepressibilityofyearningsforjustice, whichRomerounderstoodasessentialtothe gospelofChrist.The“friendsofGod,”our livingordeadsaints,shareinthelife,death,and resurrectionofChrist,andinthepersonofthe HolySpirit—divinelove,whichisalsojustice.

Inthismonth’smagazine,CheneneLayne, CoordinatorofSpiritualCareEducationatSt BonifaceHospital,reflectsontheartof“being” ratherthan“doing”alongsidethosewhoare suffering,andthemeaningfulnessofcaring presenceinourmostdifficulttimes.Next,Jane Barterwritesaboutcapitalistexpropriationof artandartisticcreationinherreviewof“Beyond VanGogh:TheImmersiveExperience”inwhich highlymediated“immersiveexperiences”of theartist’sworkdistort, simplify,andexploitVan Gogh’spersonalanguish andhisartisticoutput. Finally,aninterviewwith renownediconographer VeraSenchukexplores Orthodoxunderstandings ofsaintsandiconography, andtheiconographer’s taskof“searchingforthe light”ofChristinthe writingoficons.

JudeClaudeistheeditor ofRupert'sLandNews.

Photo:GabriellaClareMarino

ForAlltheSaints

Alleluia!Indeed,fortheyaccomplishedthat whichGodrequired,tovisitthecommunities Christhimselfwishedtovisit,andproclaimthat thekingdomofheavenisclose-at-hand. Alleluia!Thekingdomofheavenisindeedat hand,itisthebusinessofdisciplestoreflectthe abundance,freedom,andloveofthekingdom towardtheworld.

Saintslongpastcontinuetoreflectthework done,thewordproclaimed,andthecloseness ofGod’shomeonearth.Formanyofusthinking onthesaintsinlightiscomfortableand comforting,ofteninfluencingourprayersand intentions.

Forthoseofusremainingonthesomewhat meanderingjourneytowardsainthooda hopefulmessagehangsintheeons,and thankfullyIdiscovereditagaininthe 17th chapterofLuke’sGospel, Soyoualso,whenyou havedoneallthatyouwereorderedtodo,say, 'Weareworthlessslaves;wehavedoneonly whatweoughttohavedone!' Inmyreadingof this,JesushasspokentothePhariseesand scribesinharshtonesbeforehisdisciples.Iam surethedisciplesstruggletoswiminJesus’ wake,andIassumethattheywouldbefearing fortheirlives,whilestillholdingouthopethat Jesuswasgoingtoleadarevolution.Whatwe mustrealizeisthatthecontextforChrist’s disciplesineveryage,aslaidoutintheentirety oftheGospelandtheActsoftheApostles,is Christ’sliving,crucifiedandresurrectedBody.

Fordisciplesofallgenerations,todowhat weoughttodo,includesdoingallinourpower tosupportfellowdisciplesintheirlifeinChrist. Aslongaswehaveapulse,abreath,anda prayerwemustcontinuetofulfillthatpromise andvow.Wearetheteacherandthevehicleof God’sgracetoraiseupnewdisciples,new

saints,foranewgeneration,Inowclearlysee thisthroughthescripturesandmyown experiencesinGod’sChurch. Butasforyou, continueinwhatyouhavelearnedandfirmly believed,knowingfromwhomyoulearned it,andhowfromchildhoodyouhaveknownthe sacredwritingsthatareabletoinstructyoufor salvationthroughfaithinChristJesus (2Tim 3:14).ThemechanismoftransferringChrist’s dataisdiscipleship,thewordsweuseandthe actionswemake.

Perhapsmyteachingisloadedwitherrors, yetChrist’simprintpiercesthrough.Timothy’s teacherscamefromhisgrandmotherLois,and motherEunice.Eventhoughnotallwaswell withTimothyandhisChurch,Paulurgedhimto rememberwhathehadlearnedandwhohad taughthim.AsIrehearseLoisandEunice’sstory toyoutoday,thetwowomenteachagain.

Christisthemaster,theteacherandthe friend,andwedisciples,likethesaintswho havegoneonbefore,learnthroughoutourlives toreflectthebrillianceofGod’sloveina multitudeofsettingsfortheworld.Thereare manyunsettling,violent,andtoxicsituations thathumansandthewholeofcreation experienceeveryminute ofeveryday;Godgives thehungryworldthe saintsandtheiraspirants, tobringhope,healing, andfreedom.Mayyour journeytosainthoodbe filledwiththejoyofdoing allinyourpowerto supportdisciplesintheir lifeinChrist.

GeoffreyWoodcroft

GeoffreyWoodcroft, BishopofRupert’sLand

Photo: DanCristianPădureț

CommunityCatechesis: Saints

TheAnglicanstanceonsaints,comparedto thatofRomanCatholicsandPuritans,hasbeen somewhatindefinite.WhileCatholicscontinue tocanonizesaintsthroughacentralizedVaticanrunprocess,theAnglicancommunionlacksa centralcuriathatcouldauthoritativelycanonize aperson.Ingeneral,Puritansdefinitively rejectedthesinglingoutofindividualsas “saints.”Theypointedoutthat“saints”in scripturereferstosimplebelievers,andthat whenthecreedsays,“IbelieveintheHoly CatholicChurch,thecommunionofsaints,”it’s notlistingtwodifferentitemsbutoneandthe samethingundertwotitles.Betweenthese optionstheElizabethanSettlementoptedfor anindefinitecentristposition.

PriortotheReformation,acongregant sittinginapeworstandinginthenaveofa parishchurchwouldbeunabletoseethealtar; theywouldlookinsteadataroodscreenfilled withimagesofsaints.Orthodoxchurchesare likethis;visibleupfrontisalarge,ornatewallof sainticonography.Theremovaloftherood screenduringtheReformationcompletely changedthelookofEnglishchurches;thesaints weregone.Theywerealsogonefromthe Litany.ThemedievalLitanyhadlargely consistedinlistingsaintsandrepeatingthe invocation“Orapronobis”–prayforus.The ideawasthatthesaintsinheavencouldoffer intercessoryprayerstoGodonourbehalf.The BookofCommonPrayerreplacedthese invocationswithpetitionsaddresseddirectlyto God.TheEnglishReformationalsosuppressed manyminorsaints’feastdays.Inalltheseways, thesaintswereremovedfromtheconcretelived experienceofChristianityforthelayperson.

Thesaintswerenotremovedentirely, though.Churchescontinuedtobearthenames ofsaints.AndintheElizabethanSettlementof the1560’s,dozensofsaintswerereinsertedinto thechurchcalendaryear.Buttherewasno correspondingliturgicalelement—nospecial

collects,orpropers,orreadings.Thiswasthe awkward,indefinitecompromise.Thechurch continuedtohavesaints,buthadno mechanismforrecognizingnewones,andhad noliturgicalformsforcommemoratingtheones theyhadretained.

Underlyingthismuddle,though,remainsan unmuddledprinciple:saintsdoexist,butwe oughtn’tinvoketheirprayers.

Notoutofenvieormaliciousnesse DoIforbeartocraveyourspeciallaid: Iwouldaddresse Myvowstotheemostgladly,BlessedMaid, AndMotherofmyGod,inmydistresse.

Butnow,alas,Idarenot;forourKing, Whomwedoalljoyntlyadoreandpraise, Bidsnosuchthing: Andwherehispleasurenoinjunctionlayes, (’Tisyourowncase)yenevermoveawing.

ThesetwostanzasfromGeorgeHerbert’s “AngelsandSaints”arerepresentativeofthe Settlementview.Thoughwearenottoinvoke thesaints’prayers,thecommunionofthesaints isimportant.Thesaintshavecommunionwith God,andwiththeangels,andwithus.That doesnotmakethemmediatorsbetweenusand God,butitdoesmeanthatthepastofthe churchisnottrulypast.Whereverthebodyof Christispresent,itispresentwith all ofits members,bothpresent andpast.Inthiswaythe pastismadepresent.In worshippingGodwejoin ourvoicesto“allthe companyofheaven,” whichincludesnotjust angelicvoicesbutthe collectivevoiceofthe communionofthesaints.

GrahamMacFarlane

GrahamMacFarlanehasbeen AssociatePastoratSt Margaret’s,Winnipeg,since 2020.Priortothathestudied theologyinAberdeen, Scotland,andworkedfor ManitobaPioneerCamp.

TheArtofBeing

CheneneLayne

“Thankyouforbeinghere.”

Thesefivewords,oftenexpressedatthe endofaneventorgathering,havecometo meanmoretomeovertheyearsasI’veworked inSpiritualCare.Ihavefoundthattheartof “being”withotherswhoarenavigatingthis windingjourneycalledlifebringsthemost meaningandmakesthemostdifference. Eliminatinganypersonalagendaorneedto “do”somethingenablesmetobepresentand remaininthemoment.

I’vehadtheprivilegeofwalkingalongside peopleduringprofoundmomentsofsuffering andlossandhavefoundthatoftenthesingle mostpowerfulandmeaningfulthingIcoulddois tobearwitnesstotheirpain.Formany,theurge to“fix”orprovideready-madesolutionsis somethingweneedtounlearnorconsciously payattentionto.Peoplearen’tnecessarily lookingforanswers;theyjustwanttheirsuffering tobeseenandvalidated.Whenitcomestothis principle,IoftenthinkofJob’sfriendswhenthey firstencounterhimafterallhislosses.The scripturesaystheysimplysatwithhimforaweek, notsayingaword,becausetheysawhowgreat hissufferingwas.Oncetheystartedoffering advice,that’swhenthingsgotcomplicated.For me,thisimageryishelpfulbecauseitemphasizes thedifferencebetweenbeinganddoing.

Intimesofloss,one’sspiritualityoften comestotheforefront.Questionsariseabout one’smeaningandpurposeinlife,aswellas one’srelationshiptoself,lovedones,and others.“Whyisthishappeningtome?”“Who orwhatisimportantinmylife?”and“HowdoI makesenseofthis?”arejustafewspiritual

questionsIhearregularly.Attimes,religious beliefsorpracticesmaybeincluded,but regardlessofwhetheroneisreligious,these existentialquestionsandtheanswersone ascribestothem,affectshowonerespondsto thedifficultcircumstancesbeforethem.

OneexampleofthiscomesfromavisitIhad withadyingpatient.Thepatient,whowasnot religious,washavingwhatonemightcalla “crisisoffaith”astheygrappledwiththefact thattheylivedtheirlifedoingeverythingthey believedwouldkeepthemhealthyandletthem enjoyalonglife,butitwasallinvain.Asthey laidintheirbedwithweekstolive,realizingall theirhopesanddreamsforretirementwouldnot materialize,theylamentedlostopportunities andstruggledtounderstandwhytheirfriends, whointheiropiniondidnotlivehealthy lifestyles,continuedto enjoylife.Ididnot attempttooffersolutions orstandardpatanswers.I satwiththemintheirpain, heldtheirsuffering,and createdasafespacefor themtoprocesstheir emotionsandexplore theirspirituality.

Wearehumanbeings, nothumandoings.This phraseistossedaround often,butthenexttime youhear“Thankyoufor beinghere,”reflecton howyourpresence influencedtheencounter.

Photo: AlexanderGrey

The“BeyondVanGogh

ImmersiveExperience”: asadnessthatlastsforever

ThisarticlewasfirstpublishedinCanadian Dimension.Viewtheoriginalpublication here.

Yesterday,Imadetheterribledecisiontoattend “BeyondVanGogh:TheImmersive Experience.”TerriblebecauseIhavebecome increasinglytiredofdigitalmediation,anaftereffectofalmostthreeyearsbeingchainedtomy deskonZoomduringthepandemic.Anda terribledecisionbecausewhenIwasyoung,I reveredvanGoghwithadevotionthatonlya half-Dutchteenaged,melancholic,nascentart lovercouldmuster.

TheexperiencewasfarworsethanIfeared: anupbeat(!)narrationofvanGogh’slifeand letterssettoMuzak-inspiredrefrainsofDon McLean’s“Vincent”andTheBeatles’“Here ComestheSun,”aninsipidfascinationwithhis madness,followedbypatmorallessonsabout artasaformoftherapy.Accordingto Fanny Curtat,arthistoryconsultantonthemultimedia project:“There’saninterestandacuriosityfor hislifestorythatspeakstoalotofpeople…It alsospeakstothepowerofhiswork…the healingqualitiesofart,ofnatureandthepower ofcoloursandbeauty.”

Oneistemptedhere,ingooddigitalform, tosimplyrespond,“lol.”Tospeakofthe healingqualitiesofart,nature,colourand beauty,istomissthemarkprofoundlywhen displayinganartistwhoseexperienceoflifewas sounremittinglybleakthatheshothimselfin Auversafterplacinghiseaselagainsta haystack.Whileartandcolourmayhave

broughtmeaningtohislife,itofferedlittleby wayofsolace.Ittakesaveryadeptcapitalist sleightofhandtoturnhisstoryintoalessonon “healing.”

Worsestillwerethefrenetictransitionsof imagesandtheiralterations.Thiswasan immersiveexperienceinwhich“participants” couldobservetheshiftingwatersofcanals underfootorwatchtheblinkingeyesofvan Gogh’sself-portraits.Inturn,participants offeredtheirownmediationoftheexperience:

JaneBarter

Photo: Redd

Photo: JeanCarloEmer

snappingselfiesagainstthebackdropofravens andsower,amongsunflowersandstarrynights, withtheemaciatedartistandthewoundedman withabandagedear.Thesesceneswere replicatednodoubtincityaftercitylikemy own,whichhappenedtotakeplaceina darkenedroomoftheRoyalBankofCanada ConventionCentreinWinnipeg.

This“experience”istheworkofartistic reproductionintheageoflatecapitalismpar excellence.HowcuriousthatvanGogh brandingissocommerciallylucrativegiventhe factthathehimselfwasdestitutethroughouthis brieflife.Indeed,theseimmersiveexperiences ofvanGogh’swork(ofwhichthereare overforty intheUS)spranguprapidlyduringthe pandemic, bolsteredbytheNetflixromcom,EmilyinParis. Becausetheimagesareall inthepublicdomain,themultimedia companiesproducingtheimmersive experiencesareabletoreproducethese imagesagainandagain,chargingasteepfee forastrictlytimedvisitthatlastsalittleoveran hour.Attheendoftheexhibitliesastrategically locatedgiftshopwhereyoucanpurchase noveltysocksandtieswithimagesoftheartist andhiswork.

VanGoghdiedat37ofaninfectiontwo daysaftershootinghimselfinthechest.This wasanartistwhoselastwordstohisbrother were“thesadnesswilllastforever.”The cannibalizingandcommodifyingofanartist suchasthisisoneofthegreatachievementsof latecapitalism,whereeverything—even suffering,suicide,mentalillness,andsingular artisticachievement—canbecomea commodity.

Curiouslyscarceamongtheover300 projectedimageswerevanGogh’sdepictions ofpeasants,prominentsubjectsofhisearly painting,towhichhereturnedjustbeforehis death(“PeasantsLiftingPotatoes”).Discussing theartist’suseofcolourandformtounderscore thepeasants’connectiontotheearthandthe land,JohnBerger writes:

Thefusionofthefigureswiththeground refersfiercelytothereciprocalexchangeof

energythatconstitutesagriculture,andwhich explain,inthelongterm,whyagricultural productioncannotbesubmittedtopurely economiclaw.Itmayalsorefer—bywayofhis ownloveandrespectforpeasants—tohisown practiceasapainter.

ForvanGogh,theworkofartisticcreation wasinherentlymaterial.Itinvolvedengagement withthecorporalityofpersons,ofplaces,ofthe naturalworld.Inturn,artwasphysically demandinganditstoolsandmedia—thevery physicaleffortofthickpaintoncanvas,the labouringafterform,themanifestationofan imagethroughsustainedeffortoncanvas— soughttoreflectthelabourthatwasproduced bypeasantsworkingthroughtheroughand recalcitrantsoilunderasettingsuntoprovide sustenance.Itisalsoarefractionoftheworkof God’screation,groaningintravailtowarda perfectendjustonthehorizon.Howfarthis gruellinglabourisfrom theprojectedimage,the screenthatcanonly producemorescreens: thefilteredselfiesetto “StarryNight,”the cannedreproductionof TheBeatles’“Here ComestheSun,”ina bank’stheatrewherethe sunnevershines,andits raysneverilluminatethe facesofthosewhowait uponitherebelow.

JaneBarterisapriestinthe DioceseofRupert’sLand, currentlyservingAscension AnglicanChurchinStonewall, andaProfessorofReligion andCultureatTheUniversity ofWinnipeg.

SearchingfortheLight:

AnInterviewwithVeraSenchuk JudeClaude

VeraSenchukisarenownedUkranian-Canadian Orthodoxiconographer.Imetwithherover ZoomtodiscussOrthodoxunderstandingsof saintsandiconography.Ourconversationwas casualbuthasbeenmoreformallyreformatted hereforthesakeofreadability.

1.Whatistheimportanceofsaint iconographyinachurchcommunity’slife?

Iconsasspiritualaid:

So,there'soureverydayworld,whichis wonderful;it’spainful,happy,allthosethings. Butwhenyouwalkintoachurchwithicons thereisimmediatelyasensethatyou’rein anotherplace.Forexample,intheUkrainian traditionthereisthestoryofwhenStVolodymyr theGreatwasinsearchofareligionforhis people,andhesenthisemissariesout,and whentheywalkedintothegreatHagiaSophia, theysaid“Wedidnotknowwhetherwewerein heavenoronEarth.”Theverystructureitself withitsdomesandthepositioningoftheicons, (ofcourse,everychurchcan’thouselargeicons) givesthepersonwhoentersitafeelingthat they’reinadifferentplace;itgivesthema momenttoreflect.

Iconsasteachingaid:

Iconshavebeenused(ifyouwanttouse thatterm)intheOrthodoxChurchwhennot everybodythatwenttochurchcouldread.Over timeavisualtraditionwasformedaroundthem; youcanrecognizeSaintPeter,orSaintPaulby theirdepictions.Youwillalwaysrecognize Christ,becausehishaloistheonlyhalothathas thatcrossonit.

Photo: VeraSenchukIconography

IconofSt.PeterandSt.Paulby VeraSenchuk

Decorativeartvsfunctionaliconography:

Weputiconsonourwalls,butthey'renot reallydecorativeart.Theydoserveafunction. Thatdoesn'tmeanthatanon-orthodoxperson cannotownanicon.Let'ssayapersonwhois non-orthodoxownsaniconandtheydon'tpray beforeit,buttheylookatitanditbrings somethingtothem—thatalsoisfulfillingits purpose.

Theimpactofanicon:

Alltheseexternalthingsimpactyour internallife.Sometimespeoplejustclosetheir eyeswhentheystandbeforeanicon,butthey knowthattheiconisthereandit’slikekeeping aphotographofsomeoneyoulove.

2.Whatisasaint,inyourunderstanding?

Whatistheimportanceofrecognizingsaints forthechurch?

We’reallonourChristianjourney,inwhich wetryandgetclosertoGod,andyougetcloser toGodbybeingintouchwiththespiritual.The Saintsareexamplestousinthat,whohave pavedthewayforus.Theywereableto transcendtheirsufferingbytheirfaithwhich carriedthemthroughit.That’swhyIholdthem inawe.They’reworthyofputtingtheirimageon aboard,andworthyofveneration.Ofcourse, wedon'tworshipthem.ItisGodthatis awesome,buttheirpathIaminaweof.

3.Howdoyouunderstandyourroleasan iconographer?

Ihaveaquotewhichsays,“Whetherthe iconisgoodornot,brilliantornottechnically, theintentionisthesame,”whichisto externalizesacredtradition.

Howiconscanreflecttheiconographer:

Ihavehadpeoplerefertomy“style,”and I'malwaysalmostinsultedbecauseI'mtryingto followatraditionalByzantinestyle.Therewas oneprofessorthatvisitedusmanyyearsago andhesaidtome“Howisitthatyoumakeyour facesUkrainian?Whatisyourtechnique?”I hadn’tbeentryingtomakemyfacesUkrainian.

Buticonsaremadebyahuman,byasinful being,andwe'renotclones.Youarewhoyou are,andyou'realsoimportant.Eventhough partofourspiritualtrainingfordoingthisisto trytonotputouremotionsintothework.

4.Ifyouaretaskedwithcreatinganiconofa saint,whatdoyouconsulttomakeyour composition?Whatistheprocessofwriting theiconlike?

Prayer:

Istartwithprayer.Prayersetsupyourwork. Therearetimeswhereifyougetoutofthemold ofprayeriteffectsyourworkandyoustart havingtrouble.

Research:

Ireaduponthelifeofthesaint.Ihavean extensivelibrary,andIdoresearch,lookingat variousiconsofthesaint.Iwillbelookingat “exemplars,”asmyhusbandcallsit.Inmyown workItrynottoemulatemoderniconographers. Iliketogoback,mostly,let'ssaytotheByzantine tradition.Sometimesthesaintissoobscurethat youcan'tfindanexample.IhaveaXeroxcopyof atextfrom,Ithink,1867wherethereareline drawingsofallthesaintsforeachdayoftheyear. They'retiny,butittellsyouthingslikethecolorof theirrobes,andyoucandiscerntheir characteristicsfromit.Inancienttimesthereused tobealittletilethatwouldgofromworkshopto workshop,andthatwastheonlywayyoulearned.

FeelingclosetotheSaint:

Whenyou'reworkingonaparticularSaint youfeelclosetothatSaintbecauseyou'veread aboutthemandstudiedtheirimages.

Variabilityinwritinganicon:

Youcannevertellhowlongaparticularicon isgoingtotake.Youcandothesame procedure,buteachtimecreativitymakesup aboutonethirdoftheprocess.Forexample,a lotdependsonhowyoumixthepigments. Everyiconisnew.Theyarethesameinmany ways,butalsodifferent.

5.Thethemeforthismonth’smagazineis “saintsinlight.”InOrthodoxChristianitythis phraseseemstotakeonaverytangibleform inthedesignoficons.Canyouspeakabout thetheologicalsignificanceoficons,orthe ideathaticonsare“windows”tothedivine?

Ihaveaquotationherewhichsaysthat whenmakinganicon,“You'reexternalizinga spiritualreality.Theiconenablesthebeholder toenterintotheunseenworldoftheSpirit.It's aspiritwhichtranscendsyetinterpenetratesthe worldofmatterandtheflesh.”

Thisiswhyiconsareinacertainstyle. They'renotnegatingnatureinthatyoucan recognizethaticonsdisplayhumanforms,but they’realsonotphotographicportraits.We respectnatureandlovenature,infactthe materialsweuseareallnature(egg,wine, vodka),butwedon'temulatenature.

Thisrelatestotheideathaticonsare “windowstoheaven.”Theiconographerisnot veneratingthewood,orthematerials,butwhat theiconrepresents.That'swhytheearlyChurch wassobrilliantinestablishingastylethatis different.IconographyisunlikeancientGreek art,whichwaslargelyrepresentational,buteven thoughiconscontainmuchsymbolismthis symbolismisnotthesameasinabstractart, whereanybodycantakewhatevertheywant outofapiece.Iniconographyyourecognizea saint,orChrist,ortheMotherofGodandyou recognizetheirspiritualsignificance.

Stillnessinicons

Iconsalsotendtobe—I’mgoingtosaythat iconstendtobestill.Westernarthasalotof movementinit.Whenyoustandinfrontofan icon,thestillnessofthaticoncancauseyour mindoryouremotionstobestill.Idon'twantto usetheterm“neutrality,”butit’sasiftheimage isjustlooking.Oneofthecharacteristicsofan iconisthattheeyesareusuallybigger,and they'rejustlooking.Thepresenceisthere;it's universalandtranscendentatthesametime, andyetpersonal.

6.Whatmaterialsdoyouuseforcreatingan icon?Doesitmatterwhatmaterialsareused?

Usingmaterialstocommunicatethesacredin physicalform:

Thetraditionaltechniqueofgessoandegg tempera,ofcourse,isthebestmediumto somehowtranslatethephysicalformintoa sacredsignificance.Whichisrecognizedbythe faithful&inspiresthem.Whenyoulookdeep intoit,especiallyafteritsoiled,it’slikelooking intotheocean.Whatgetsreflectedatyouisthe whitenessofthegesso.Butit'snotsoethereal thatit'ssortofswimming;itisasolidsubstance, whichrelatestoChristbeingbothhumanand divine.There'sabalance.

AndIguessthat’sthetaskofthe iconographer—tosearchforthatlightthrough thematerial.

Usingvariablematerialstoworkfromchaos toorder,fromdarktolight:

Iworkintranslucentlayers.Butbecauseall thematerialsarenatural,it'snotlikeIpressthe paintfromatubeandit'sready.Andwhenyou putpainton,itlikestosettlewhereitwantsto. Notalltheelementsareinyourcontrol,andit canhelpyouletgoofyourego.Youdon'thave tobeincontrol.

Though,youkeepwithinthelines;ifyou don’tit’scalled“chaos.”Theprocessoficon writingmovesfromchaostoorder,fromdarkto light.Weusedarker,rougherpigmentsinthe beginningandlayerbylayerweaddlighter morerefinedcolours,morewhite,etc.Inthis waywealsosearchforthelight.Thisis importantbecauseitreflectsourbeliefthat JesusChrististhelightoftheworld.

MoreofVeraSenchuk’sworkcanbeseenonher Facebookpage: VeraSenchukIconography

DiocesanNewsRoundup

SynodfortheDioceseofRupert'sLand convenedonOctober14and15.Arecordingof theOpeningServiceforSynod(heldatSt John'sCathedral)maybeviewed here.

CentralBuganda Orphans'ProgramUpdate

MulondoLezheinPeker,Chairmanofthe DioceseOutreachCommitteeinour CompanionDioceseofCentralBuganda,has writtenourDiocesewithasuccessstoryfrom theOrphan'sPrograminCentralBuganda.The articlefeaturesKyewalayangaSwabula,whoisa studentintheprogram.Thestorycanberead here

Moreinformationabouttherelationship betweentheDioceseofRupert'sLand'sandour CompanionDiocesecanbefound here

DrJuneM.James,O.M.,People’s WardenatSt.Bartholomew AnglicanChurchReceives DiamondJubileeAward

OnSeptember26th,HerHonour,the HonourableJaniceFilmonpresented50Medals toManitobanscommemoratingtheDiamond JubileeAwardofthelateQueenElizabethII.

OneoftherecipientswasDr.JuneM. James,O.M.,People’sWardenatSt. BartholomewAnglicanChurch.

Thecertificate,whichalsoborethe signatureofManitobaPremier,Heather Stefanson,thankedrecipientsforprofessional andcommunityservicetotheProvince.

ArchivistJobPosting

TheAnglicanDioceseofRupert'sLandishiring forthepositionof:Archivist.TheArchivist reportstotheBishop,DioceseofRupert’sLand andprovidesprofessionalandspecialized archivalknowledge,services,assistance,and leadershiptotheDioceseanditsparishesin supportoftheretentionandpreservationofthe cultural,historical,andlegislativevalueof recordsandmaterials.TheArchivistenablesthe fulfilmentoftheDiocesanarchivalCanons, policies,mandate,strategies,andaccession requirementsalongwithcomplyingwith applicableprovincialfederalregulations.The Archivistissupportedbyandcollaborateswith theArchivesCommittee.TheDiocese’sarchival records,materialsandfilesaremanagedoutof severallocationsinWinnipeg.

Pleaseseethe Diocesanwebsite formore details.

YourCathedral–

TheCathedralChurch ofSt.JohntheEvangelist

MatthewBowman

Foundedin1820bytheRev.JohnWest,the RedRiverMission(latertheCathedralChurchof St.JohntheEvangelist)issituatedonthebanks oftheRedRiverwithintheboundsofthe1817 SelkirkTreaty.AsamissionhouseoftheChurch MissionarySociety,itservedadiverse populationofHudson’sBayCompanysettlers andlocalIndigenousnations.ARedRiverlog framebuildingwaserectedin1822and narrowlyescapeddestructioninthegreatflood of1826.Thesecondbuilding,astonestructure completedin1833,wasbadlydamagedinthe floodof1852butwassalvagedusingwooden supports,andin1853wasconsecratedthefirst cathedralofthefledglingDioceseofRupert’s Landbyitsfirstbishop,theRt.Rev.David Anderson.ThepresentLateGothicRevival buildingwascompletedin1926and incorporatesstonefromboththe1833structure andthethirdchurch,completedin1862.

Demographically,mostofourparishis madeupofEuropeansettlersalongwith significantnumbersofpeoplefromBIPOC communities,withnearlyhalfofthe congregationlivingwithinthegeographical parishboundedbyInkster,McPhillips,andthe CPrailline.OurCathedral’sworshipping communityhasshiftedduringtheCOVID-19 pandemic,with25-35%ofthecongregation

currentlyparticipatinginSundayworshipviaa YouTubelivestream.

Asaviamedia(middleway)Anglicanparish worshipisdrawnprimarilyfromtheBookof AlternativeServicesandCommonPraise; seekingtobothglorifyGodandprovide strengthforthelivesofChristiandisciplesby combiningthebestelementsoftheAnglican liturgicaltraditionwithalltheexcellencethe communitycanmuster.

Outreachandbuildingcommunity connectionsoutsideitswallsarecentraltoour Cathedralcommunity’sidentity.Itsfoundational andongoinginvolvementinthe Kapabamayak Achaak (“WanderingSpirit”)HealingForest Winnipeg—dedicatedbothtothememoryof victimsoftheResidentialSchoolsystemandto beingaplaceoflearningonthelandinthe goodwayofhealingandreconciliation—is emblematicoftheCathedralcommunity’s publiccommitmenttoreconciliationand buildingrightrelations.Likewise,ourCathedral communityisdedicatedtobeingaplaceof welcomeforthewiderWinnipegcommunity, recentlyhostingPlatinumJubileeand Thanksgivingservicesincelebrationand memoryofthelateQueen.

Closertohome,theCathedralcommunity iscommittedtosupportingtheongoinglifeand ministryofthediocesebyslowlygrowingits financialsupportandofferingagatheringplace forthewiderdiocesancommunitytogather andworshipatsignificantoccasionsinour commonlifeasthebodyofChristinthistime andinthisplace.

HumphreyLloydHime,St.John’sChurch (ChurchofEngland),twomilesbelowFort Garry,AssiniboineandSaskatchewan ExploringExpedition,1858. ArchivesofManitoba,P8290/7.