ICON

The set of works MARGARET. ICON is the result of my inspirations linked to the history of icons. The origins of these representations are related to the art of portraiture – and I referred to this tradition. I took note of the figure’s gestures as an important symbolic element – for example, the meaning of Virgin Mary pointing to the baby Jesus with her hand, or gestures related to blessing. It is obvious that the arrangement or pose of the figure can be interpreted differently depending on the culture; there are also numerous interpretable forms based on body movement in the traditions of various communities. I decided that the gesture – or even, gestures – should appear in my works. Therefore they recur, repeatedly, creating a frame around the main scene. Their composition refers to the frame we often see in icons around the main image of a saint, usually depicting scenes from his or her life. In the icon itself, the origin of the composition results from the custom of deepening the board in the place where the image was to be painted, so that a strip was left around it. Over time, the deepening was also filled – for instance, with the already mentioned scenes from the life of the hero(ine) of the icon.

I became interested in the image of my patron saint – Saint Margaret. Her story has always resonated with me; especially the presence of a dragon, which is one of the attributes of her representation. The dragon appears in the depictions of Saint George, sometimes Saint John, while the other saints are typically set in more realistic contexts. Unfortunately, classical portrayals of Saint Margaret, especially in the Western Church, are usually rather dull, devoid of expression. The dragon accompanying the saint shares this lack of character. I decided that Margaret’s fascinating story could be conveyed more accurately – using appropriate artistic means. So I decided to paint the image of my patron, a modern icon – where I identify with her by providing her image with many of my own physical features, and emphasizing elements of her story that deserve more attention, such as her courageous opposition to the figure of the dragon, which signifies Satan, or evil.

I portray Małgorzata accompanied by popular household pets: a cat or a dog, which in individual images take on a more or less predatory appearance. The expression of forms and the method of painting are related to the interpretation of the colours that appear in the images of the saint. Specifically, according to tradition, representations of Saint Margaret should include three colours, which then take on a symbolic meaning. The first is red – symbolizing martyrdom, but also beauty, goodness, youth, and committed faith. The second one is blue – the martyr’s death was rewarded with ascension to heaven, eternal life, so it is a symbol of celestial existence. Finally, green – it refers to other believers, especially those sacrificing themselves for faith, and also to the Holy Spirit. Inspired by the importance of these three colours in the image of the Saint, I chose to paint monochromatic representations in red, blue, and green.