Commentary for the Siksika Immaculate Heart Of Mary can be viewed at the following link: https://www.andreprevost.com/first-nations-icons.html I've been working with this icon, always within the context of Sacred Heart, primarily because the Siksika inscription for this icon is the same as the first Siksika icon, which is Naatowa’poiss Kiksipaahpi’, translated to 'Sacred Heart'. The actual devotion is named Immaculate Heart of Mary, but the chosen Siksika inscription was the best option. In preparation for this icon, I found that both Sacred Heart and Immaculate Heart were used in online postings, with the same images for both. So for clarification sake, for those in the Roman Rite who may see the Sacred Heart of Mary title as an error, the devotion which they are familiar with is indeed the Immaculate Heart of Mary. But this pair of Siksika icons do share the same inscription of Naatowa’poiss Kiksipaahpi’. April 24, 2018: The Siksika Sacred Heart Of Mary Icon has been completed. It will be on route to Alberta in May. This new icon is designed as a pair to the first icon. April 16, 2018; With 100 hours into the icon so far, I still have a ways to go, but believe that I will be able to complete it this week. It is always hard to accurately judge the remaining time, as anyone knows how To Do Lists work. You scratch one thing off the lust and then find that you need to add another. :-) April 16, 2018; With 100 hours into the icon so far, I still have a ways to go, but believe that I will be able to complete it this week. It is always hard to accurately judge the remaining time, as anyone knows how To Do Lists work. You scratch one thing off the lust and then find that you need to add another. :-) I've been busily working on developing the next Siksika commission, for an icon of the Sacred Heart Of Mary (Immaculate Heart of Mary), and I was waiting until all the major adjustments to the design had been completed, before posting an image of the icon in progress. I'll add some jpegs and notes in order from most recent to oldest. April 8, 2018: 77 hours later, the icon is progressing well, and the regalia and composition has loads of detail. There is much left to do. This icon is a pair to the first icon written earlier of the Siksika Sacred Heart. A few quick notes about the icons (until a commentary is finalized): - Mary has the same beaded style of pendent as Jesus', although it won't have the neck strap. It is superimposed over her regalia. - Mary is wearing Siksika regalia from the commissioner's family, with a blue and coral beaded yoke and with thimbles on strands of beads. - The fan will be developed as dark brown Eagle feathers and a beaded handle. - Mary has a shawl draped over her left arm, also from the commissioner's family. - The setting for the icon is near Castle Mountain in Banff National Park, historically important to the Blackfoot Nation. - The tepees are maintained in the same configuration as in the Sacred Heart icon, with entrances facing both Mary and Jesus. - The Bow River will be developed with its shallow pebbly section and will have its opal turquoise glacial water which will connect to the beading on Mary's yoke. March 30, 2018: An earlier phase in working out base colours. Note: the initial pendent idea for the heart was recently changes to better suit the icon. In the photo is another canvas which I started and will work on once the icon is completed. This canvas has its own Journal entry 'Reconnection'. March 27, 2018: A day earlier once both the icon and totem canvas were inked in. March 25, 2018:
Once the icon panel was cut, sanded and had the muslin adhered to it, coats of gesso were applied and sanded to the smooth finish. The next step (as with the totem canvas) is to draw in the grid system to help transpose the larger design(s). My old herniated disc injury from 2007 flared up once again 5 days ago, thanks in part to a familiar problem of an inadequate ceiling height. The culprit of the injury was the very large icon of the Holy Family for St. Andrew's Cathedral in Victoria BC. The icon is 84"x 60" and weighed 95 lbs. My studio's ceiling height was 96". The wall easel that I constructed allowed me to have the icon at a bit of an angle to help clear the ceiling, but with it being 12" off the floor, I'll leave it to your imagination as to the contortions required to paint anything at the bottom - hence the repetitive strain on the spine. In addition to the icon's weight, I then had to construct its crate, which weighed an additional 100 lbs, and did the assembling and packing in my dining room (in Winnipeg at the time). So it didn't come as a huge surprise that the day after sending out the icon, I was brought to the hospital and then became a prisoner of my sofa for days and days. The old injury is OK for the most part, but every now then, it reminds me that it is still there. It was also a reminder that the background information on this icon pre-dates my Journal (Blog) entries which only began a few years ago. I felt like that I should correct that ASAP. There are many of my icons which, after so many years, still seem to be 'undiscovered'. Background to the icon design itself: When asked to write an icon of the Holy Family, the one reference icon provided had a number of theological questions to it, in trying to present a loving family unit. The immediate problem was the natural depiction of ‘embrace’ in which St. Joseph held Mary by placing his hand on her right shoulder and Mary leaning her head on him; while both embraced Jesus as a young infant, with their hands enveloping in front of Him. Although the intent of portraying an exemplary loving family, it is after all, depicting a non-typical family. With the depicted intimacy between Joseph and Mary, it posed possible questions that could add to speculation around the Blessed Virgin Mary within the area of natural intimate relationships between spouses. The theology of an icon, and this one in particular, is to present the Holy Family as a close unit, but keeping the clarity of the Holy Family within the Revelation of the Incarnation. Unlike orthodox icons which often keep Joseph completely separate from Mary and Jesus and portraying him as an elderly man, I have always tried to find a balance in keeping Joseph closely connected and yet with a sense of separation. Therefore, he physically does not touch either Mary or Jesus, but is yet very close to them and clearly part of the ‘family’. In this icon, again unlike orthodox icons which depicted Joseph as an elderly man, he is portrayed more in his middle age, because the ‘separateness’ is already established. His glance is more afar to accent his role as protector and making reference of his visions. Mary’s head is kept bowed but now refers to Her tenderness to her family and to redirect the viewer’s eyes to Jesus who stands in front of Her. Her right hand also has a protective stance, and again, is directing to Her Son. Jesus is portrayed as older, more of the age of when He was lost at the Temple and aware of His Father’s Will. He is the priority of the icon, open and not shielded as in other icons. This is truer to the purpose of the Incarnation and family that protected and supported Him in His development for His public life and ministry. Jesus holds a scroll representing the Word of God becoming Flesh. Again, unlike regular spouses starting a family, both Mary and Joseph were aware of the extraordinary circumstances and events, which they humbly accepted and that, even before Jesus’ birth, had a sense of their unique roles within this Incarnation and being part of something so much larger then themselves. The colours maintain traditional colours for Mary and Joseph, colours of the earth on their outer garment and the heavenly blue for their inner tunics. Joseph’s colour was lightened and adjusted to better connect him to the colours for Mary and Jesus. Jesus’ tunic has the iconographer’s signature patterns, symbolizing the Trinity. The icon is 84” X 60” and covered with 24K Gold. And then the physical work began June 8, 2007 The first hurdle was assuring that an icon panel of this size would be structurally sound and survive the changing interior west coast conditions. I made the request of a highly valued carpenter who I was working with at the time. He was exceptional in theatre scenery construction. Because of the size of the panel exceeding the size of the highest grade plywood being used, I needed him to allow for at least a 6" overlapping seam between the two joined pieces. The addition of the raised framing along the front, in addition to the standard construction of an icon, it also provided additional structural stability. I also had to build a form of easel that could lean against my studio wall. June 11, 2007 With the size of this icon, working in a studio with a standard 8 ft ceiling would present challenges. The panel was the largest size it could be given the restrictions of my work space and its ceiling height. Nor could my studio space accommodate the messy preparation phase of the board. It required that I spread out into my Dining Room and Living room (being one big open space). After preparing the saw horses and plastic, the daunting task of adhering the muslin was next! The work had to be done quickly as the gel medium dries fast and once started, there is no stopping or pausing. I had to work fast while work out all air pockets before the muslin was set, and minimize medium from falling on the floor. I also needed to work the muslin into the inside edges of the framing and along the outer sides; all without any wrinkles. It is a high cardiac activity time. With the relief of the muslin being successfully applied, it was time to do the nine coats of gesso, with sanding after every 3rd coat. Straightforward enough BUT there was gesso dust everywhere, in every nook and cranny of the Living room, Dining Room, and Kitchen! What a mess to clean up. June 12, 2007: Keeping the gessoed panel on its saw horses, I then prepared the design on vellum paper taped to the wall of my studio, first drawing my standard grid pattern on it first. Once that was done, and corrections made, I then added vellum to the surface of the panel, drawing the same grid onto it, and then begin enlarging the image to scale. I prefer transferring the design onto vellum as lead pencil adheres to gesso and impossible to erase should corrections need to be made. It also gives me a pattern for future reference if needed. Before moving the panel, I decided to work in some base colours while I had easier access to the full surface. July 28, 2007: Once the initial levels shading and lights have been established, it is time to apply the Red Bole to all surfaces that will be covered with be gold leaf. It is also essential to get rid of white surfaces as it affects the appearance of colours. August 3, 2007: Before the finishing touches are done, the 24K Patent Gold was applied. After the gilding is done, and inscriptions and halos in place, I can seal the gold. Once the gold is protected, I careful restore any edges and borders which may have been affected during the sanding and prep for the gold. August 16, 2007: The icon is completed. And then came the Crating construction & Packing
April 8, 2018: The other completed icon with painted background: March 18, 2018 The commentary for the icon which will be going to the St. Thomas Aquinas High School Chapel has been prepared and added to the First Nations Icon Page under the ICONS heading. I'm also attaching it here as a PDF: ![]()
March 16, 2018 I am pleased to say that both icons were completed today, and I'm sure that Rose is also relieved. I am posting a picture of the gilded icon which will be going to St. Thomas Aquinas Secondary High School's Chapel, in North Vancouver BC. The Rose Of The Carrier icon is 22"x28"x1", on wood covered in gessoed muslin, and written in archival acrylic and 23K Gold. A proper commentary on the icon will be prepared, but in the meantime, in brief: - Rose Prince is portrayed as seen in both the DVD "Uncorrupted, The Story of Rose Prince", and a picture that most people are familiar with. - Rose is holding a prayer book/hymnal which she would have used when working with the children in the residential school. It was an important tool for her as the hymns and prayers had been translated to the Carrier language, and served in teaching and preserving the Carrier language. - The roses along the bottom are a reference to her many artworks. March 14, 2018 Some of you may have become tired of waiting for news by now. This commission has taken much longer then anticipated, but each icon, especially new designs, needs the time that is required. I would want nothing less for Rose. The two icons will be completed and varnished on Friday. I will post a picture of the icon going to St. Thomas Aquinas Secondary High School in North Vancouver BC. I will also be preparing a background commentary for each icon. February 4, 2018 The two icons have reached a place where both are established as to mutual and differential design. Now I am in the stretch where continued development continues towards completions. The landscape icon will also have a blue halo and inscription. The floral images and symbols are representational of Rose's own artworks. The landscape icon (which is representational of Fraser Lake in Lejac) will also have an ornamental design from her one tabernacle veil, as part of the painted frame. Rose's prayer book will include Hymn No.5 in the language of the Carrier Nation. January 29, 2018 I am pleased to report that after the long haul on the one icon, the final phase of restoring the background was successful and got the gold leaf in place this afternoon. As usual, I always need to move everything around to create a plastic hood to keep dust, lint or cat hair (and needless to say, the cat) from settling on the oil size while it sets to tack. It becomes a bit of a sauna while working inside the hood, both for applying the oil size or for applying the gold. Now that it is in place, I'll examine it tonight to see if there are any spots where the leaf hasn't stuck, and then let the leaf and size set for 2 days before I can burnish it and then do the halo and inscription etc. before I can seal the gold. Once sealed, it is a bit more forgiving in order to continue painting. January 26, 2018 Some journeys are more convoluted then others, especially from the practical sense. Not having a functioning furnace this winter, basic things such as drying times takes on a whole new meaning. And doing two large icons at the same time within a smaller studio poses its other challenges. But having improvised through the years, and sometimes feeling like I'm tripping over myself and constantly moving things around, I move forward. The two icons also gave two very different requirements, in that one has to go through all the added steps of being prepared for gold leafing, and the other requires a painted landscape. A cat barrier is required so that the Gold Size can set without a cat accidentally jumping up on it (and minimize air movement on the surface), and I now need to work on the landscape icon, while it is laying flat. The armchair on the right is basically what consists as my living room at the moment. January 15, 2018 Vancouver Sun, December 20, 2017 vancouversun.com/news/local-news/indigenous-womans-grave-site-brings-pilgrims-to-former-b-c-residential-school January 14, 2018 Seeing that 8 days have flown by since my last entry, I felt that you are still left waiting for a visual of these icons. I don't have a great picture yet as, even now, I'm still going back and forth between the two icons and making more alteration decisions as I go: replacement, size, and colours. And with the 2 icons being so different, I need to sort through these changes before I can begin the full on writing of the icon. And major changes during the writing would damage the work done if I needed to sand down areas for the change. I can't just paint over what I need to change as the previous layers will show through as a texture through the new paint, lines especially. It has to be sanded down to the gesso so that I don't feel any texture. With the icon which will have the painted background, I also needed to work out the inscription etc. at this point so that I can just develop the landscape without trying to work around these. I had to develop the circular inscription onto the icon before copying it onto vellum. I also decided that the artwork monogram needed to be lowered to free the area for the inscription. I sanded and painted out what I had done, and decided to tape them on the same vellum. Towards the end when I am nearing completion, I can then transfer these last things onto the landscape. The other icon which will be gilded, the inscription will be as usual and can be applied later. But I also draft that onto vellum in order to trace it onto the gold. The key problem that required working back and forth between the 2 icons was Rose's dress. I had originally started with a rose colour because of the gold. But the rose didn't look right on the landscape icon. I took a day to change the one dress to a light powder blue, but really disliked how that turned out. I then took another day to change the dress pattern to the cream/ochre pallet. I felt that this was the best option in representing Rose's dress which is seen in the one picture that people are familiar with. But before starting to change the colours on the other dress, I needed to see it with some colour blocked in for her rose paintings along the bottom. It did confirm that the floral patterns on her dress could not have rose and blue colours, but needed to be done in the same cream/ochre pallet. With this confirmation, I could then proceed with changing the dress colour on the other icon. Why so much complexity? Yes, the two icons will have completely different looks to them, but Rose's image needed to be the same. It needed to work within either background. I'll be redeveloping that today. I hope this photo isn't disappointing. I would understand if you had been expecting something more developed by this point, as did I. The challenge with a commission of a completely newly designed icon, is that it is completely dependent on the amount of available information for the prototype, and finding the right path for an icon and not a painting. The fee remains the same no matter how long the project ends up taking (becoming a challenge for the home budget). ;-) But it is all part of commission work. You factor in a client's need and make assumptions as best possible, on what the design requirements may become. Notes on the picture; - You see the vellum on the landscape painting with the inscription and artwork designs. I can then store this vellum for later. - The halo in the landscape icon will be done in thin glazes so that you can see the landscape through it. - Other then some base colours, I haven't begun developing any of the icon yet. - The face is typically the last thing to be painted on the icons, being the most important. I will be using the 2 images as my referral, as seen on the one easel. So, I now need to get down to writing and I may not be able to post an updated photo for a while. I'll plan on posting a picture or two when the icons get passed the 1/2 way mark. It will be after this point where I will need to begin the gold leafing process on the one icon. An added footnote: New to me this winter, is the fact that keeping a fire going in the wood stove and working in the studio are not compatible. I have my back to the stove and once I get working, I'll find that the fire is almost out and then priorities change to trying to get it restarted. :-) So a wood stove is an ongoing art form throughout the day, until the evening when it goes out and it gets time to get under all the bedding for the night. January 5, 2018 I did say that the process would be fluid... As I was staring to block in the colour for the sweater, it was back to the drawing board. In the first stages of designs, I had designed the sweater as buttoned at the top, but it appeared as though Rose had no neck. But after opening up the sweater and changing the positioning of her head as facing more to the left, I was seeing the opened sweater as a problem when adding its base colour. After speaking with Father Laboucane this morning, it was better to return to buttoning the top button as how Rose typically wore her sweater. So, the January 4th drawings are already out of date. :-) Will keep you posted once I've added the block colours, and the further adjustments those present. January 5, 2018 I did say that the process would be fluid... As I was staring to block in the colour for the sweater, it was back to the drawing board. In the first stages of designs, I had designed the sweater as buttoned at the top, but it appeared as though Rose had no neck. But after opening up the sweater and changing the positioning of her head as facing more to the left, I was seeing the opened sweater as a problem when adding its base colour. After speaking with Father Laboucane this morning, it was better to return to buttoning the top button as how Rose typically wore her sweater. So, the January 4th drawings are already out of date. :-) Will keep you posted once I've added the block colours, and the further adjustments those present. The text on the open pages of the prayer book, that she used to teach the children, will be Hymn 5 in the Carrier language. I know that there will be notes as to other adjustment recommendations, but at this point, the design and development will be a fluid process. Having the boards prepped and the designs inked in, I can now begin the journey of writing; staring by blocking in the mid tone colours. That is when I make the colour choices that work best together as a whole. The main reference picture that I will be using for this icon. January 1. 2017 Happy New year to all. It is always a treat when things go well. Even though colder outside, I was able to get both icon panels prepped today and ready for transposing the image onto the respective full scale grids on each panel. Once those are done, I can ink in each image. Once that Is done, I can finally post pictures of the designs in this Journal. It's taken a bit longer then planned due to the weather and a furnace being out of order, but the projects move along in any case.
December 28, 2017 The plan for today is to get the panels sanded, then add the frame to the one that will be gilded. Once the glue has set, I can seal the wood with a coat of thinned gel medium. Once that is fully dry, I will be doing the most tedious part in my iconography - working fast in adhering the muslin on the panels, working out the air pockets before the gel medium sets, especially within the inside corners of the frame... Caution: wear latex gloves! After that, both panels will need to set. That will likely take longer then usual because of the cooler temperatures and with only a wood stove. I'm hoping that the muslin will be dry enough tomorrow to trim off the excess muslin and then give the panels their initial sanding before starting the first coats of gesso. December 21, 2017 I know that many of you are checking in to see any further news on the design for the icon(s). With all the adjustments along the way as I find new photographs, the image of Rose Of The Carrier won't be absolutely finalized until I've transposed the design to scale onto the actual icon boards. During that transposing, that is when I make all the corrections (facial etc.) as it is now in actual scale and will become the icon(s). Again, there are two icons to be written. The image is designed based primarily on 2 photos of Rose standing. The one image that everyone is familiar with is the one of her reclining outdoors. The dress pattern in that photo was impossible to decipher. I was thrilled when I received the one photo of her from Therese Seiner and Father Vince in Lajac, as seen in the attached photo. I then received the DVD about Rose, There was a quick shot of her during the DVD, also standing, but in the patterned dress. So I was able to return to that dress as I could now see the overall pattern. The gilded icon will include her Carrier prayerbook and her painted roses. In the other icon with a painted background, it will include scenery from her region, and more of her artwork on her altar linens. In this icon, the inscription of her name will follow the rim of her halo, which will be blue instead of red. But here again, in the transposing, and once having worked out the drafting for it, the letters will be smaller. With Christmas fast approaching, I hope to get the icons boards prepped so that I can begin the gesso process right after Christmas (a messy, dusty procedure). Once I get the images transposed and inked in on the boards, I can then take a picture of each to post in this journal. Thank you for your interest and support in this project. This blog has a comment option at the bottom. December 19, 2017 Nearing completion and approval for each icon design. I was scheduled to go in to Nanaimo today to get the Baltic Birch panels cut but with the amount of snow overnight, it will have to wait a day or so until the roads are safer. With Christmas so close, I hope to at least get the panels started, with the molding added to the one icon. Adhering the muslin and adding the gesso will have to wait until after our Christmas Dinner. Once the 9 coats of gesso are added and sanded, I can begin transposing the designs on the gessoed surfaces. And, once I've inked in the designs, I can take photos for each and will post on this journal. That will likely be around the 29th/30th? December 16, 2017 I had reworked a second design for Rose Prince's image after receiving a photograph which better reflected her posture because of her back injury, but it left questions in sorting through some of the distortions for the design. But I received the DVD 'Uncorrupted, The story of Rose Price' this Thursday, which in itself was very helpful in getting to know the region she was from and hearing the interviews with those who had known her. Within the video, there were two pictures of her I hadn't seen before. One especially provided more answers in how to proceed. So I will be reworking a third design for final approval. Once I reach that point, I can then prepare the icon board this week and once ready, I can transfer the image onto it (hopefully before Christmas). Once inked in, I can post a picture of it in the journal. ![]() December 11, 2017 "Rose Prince - Beginnings Rose Prince was born in Fort St. James, BC, Canada in 1915 of the Dakelh First Nation also known as the Carrier Nation. Her father, Jean-Marie Prince, the son of a Chief, was a devout Catholic who helped the priest with translation, prayers and singing. He was known as ‘Church Chief’. People remember Rose’s mother, Agathe, as a very beautiful and kind woman. Agathe had been brought up by the Sisters of the Child Jesus and she and Jean-Marie met while they were students at the Residential School. They were married and returned to Fort St. James eventually having nine children. Rose was the third child and she first attended the little school at Stuart Lake. In 1922 she went to the newly re-built residential school at Lejac which was run by the Sisters of the Child Jesus. The Lejac Residential School was named after Father Jean-Marie Lejac, an Oblate of Mary Immaculate missionary who co-founded the mission at Fort St. James in 1873. After Graduation Her mother died of influenza when Rose was seventeen and her father re-married. After graduation, Rose asked to stay on at the residential school. One source says that her step-mother did not accept her so she didn’t feel comfortable at home, another says that she liked the peace at the school and wanted to be of use there. She used her gifts as a seamstress, cook and substitute teacher. Rose was very artistic and created beautiful embroidered Church linens and hand-made cards with her paintings of flowers which she gave to the Sisters and other friends. As a child. Rose had been injured which resulted in a back deformity making it difficult for her to walk and kneel. It may have also caused her considerable pain but her contemporaries say she never complained. Her friends describe her as gentle and humble and she was said to have a keen sense of humour. Other children would often come to her for advice. During school years she was known as an excellent student and would help the younger children with their homework and encourage them to read books. She loved the prayers and hymns in the Carrier language which had been written by Father Adrian Maurice and when she wasn’t working could often be found in the chapel. But her life was ‘ordinary’ and others did not see her as very much different than themselves. Sickness and Death When she was in her thirties, Rose contracted tuberculosis, a disease which was very common in all the population of Western Canada at that time and for which there was no treatment except rest and fresh air. Gradually she grew weaker until she was confined to her bed and unable to work. In August of 1949, she was admitted to the hospital in Vanderhoof, BC. Her brother, Paul, was with her. She asked to see the Sisters and Father Mulvihill who celebrated a Mass for her in the hospital chapel. After she received Holy Communion that evening she died. She was only thirty-four. A few days later she was buried in the cemetery at Lejac. In 1951 four gravediggers were re-locating several graves near the Residential School at Lejac, BC (900 km north of Vancouver) as they were too close to a barn. When one of the caskets accidentally broke open the men were astonished to see that the body of the young woman inside was uncorrupted even though it had been buried two years ago. They opened the other caskets and these bodies had decomposed normally. The uncorrupted body was that of Rose Prince." December 9, 2017
I am pleased to announce that another icon commission has been confirmed, two actually, and the design process is underway. Both icons are of 'Rose Of The Carrier'. I am grateful for the information provided by the collaborators of these projects. Each icon will be for two separate locations. The one icon will be done as a traditionally gilded icon, while the other will have a painted background, similarly to my other First Nations Icons. I will be adding entries along the way, as to the progress of each icon. |
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