Marian Artistic Creations solo exhibit
University of Dayton, The Marian Library Gallery, Dayton Ohio, April 19 – June 18, 2010
Saj’s paintings explore traditional iconic prototypes using modern vernacular. Her work instantly betrays a fascination with color and though not narrative in the traditional sense, it employs recognizable forms interlaced with rich surfaces of pattern and color. Her paintings attempt to dazzle and engage the viewer with their subject. For those versed in scripture, they have even more resonance. “Her style reflects both aspects of her training–a use of abstract form and color which draws on the heritage of early twentieth-century modern art, and the use of some of the forms, conventions and themes in icon painting. This combination is startling… Saj’s great achievement is to create a kind of synthesis between these traditions, rather than simply borrow motifs or techniques of each.”–-writes Rachel Nicholls, in her recent book Walking on Water which includes analysis of Saj’s work specifically in relation to scripture. [Nicholls writes] “She has creatively combined two spiritual artistic traditions and through them expressed a Christian narrative in a way in which is neither kitsch pastiche nor nostalgic reference but a ‘meant’ religious symbol. It is an intriguing postmodern achievement that has broken the bounds of each tradition (an abstract painting with a figure in it, an icon without a face) yet preserved and combined something of the heart of them.”
There is a rich history of depictions of the Virgin which provides ample area for exploration for iconographers, as is evidenced by the many types of Marian icons found throughout the world. It has evolved as a natural area of interest for Saj. Many of the works included in the exhibition explore these prototypes as well as narrative scenes associated with life of the Virgin and the life of Christ. Saj is especially interested in universal symbols associated with icons–-allowing them to be understood by a broader audience. Much of the ancient tradition is lost and understood only by devout believers and or experts. Saj is trained in traditional aspects of icon painting and does traditional works largely on commission for ceremonial use. Doing this work, she realized that often there are aspects of these traditions lost in translation. It is her assimilation of these techniques into a contemporary context that provide the root of her artistic exploration.