Artist's
Statement
by
Devi
Anne Moore
In the Book of Hebrews, the things of this earth are referred to as
copies, shadows or dim reflections of the eternal heavenly dimension. This concept
motivated me to visually interpret the vivid word pictures of Revelation. I chose to
utilize constructed paintings combining three dimensional objects, photographic images and
painted illusions. The results literally break through the two dimensional picture plane.
In keeping with the Hebrew reference, the intention is to suggest that what is of this
earth is only a dim glimpse of the true reality of the heavenly realm. This combination also communicates a message in the form of visual poetry derived from the
prophetic narrative. Through these images, I feel that I have created a sense of urgency
conveying the immediate possibility of impending events.
My inclination was to produce visual poetry and to reject any notion that
the work must be only literal and realistically rendered. Thus the
images are "the WORD made visual." My hope is that the art
assists all interested in Revelation to be able to read and meditate on
the text for personal understanding--for it is promised that all who
read the book will be blessed (Rev. 22:7).
One of the most challenging and rewarding aspects of reading the Bible is that the text
has multiple layers of meaning. In my series, I have attempted to distill from these
layers images of relevant pictorial poetry which should first be viewed for its formal
visual aesthetic and secondly, for it's scriptural relevancy. However, ultimately the real
life-blood would derive from the combined aesthetic and spiritual force within the series.
Thus,
these seven series attempts to be more like pictorial poetry which
emotionally stimulates the viewer beyond the superficial into the spiritual. My pictorial
space attempts to present the old familiar Apocalyptic text through a new and fresh
expression.
A significant influence of old was the art of the Beatus commentaries on the Apocalypse
rendered at the turn of the first millennium. To the Medieval mind, the visual
interpretation was equally as important as the scriptural source. Without adding to the
text, the artists made it both relevant and pertinent to their circumstances by
presenting, in the preferred abstract style, contemporary symbols and images within the
pages.
I was in awe of this abstract art form that had such a prophetic presence.
Because this style of art impacted me so deeply, I did and still do continue to ask myself
how I can use this as a source of my work.
The motivation behind the Beatus manuscript can only be understood in terms of a deep
Messianic faith which had given solace to the indigenous Spanish population at the end of
the first Millennium. The Spanish Medieval mind anticipated the New Heavenly Jerusalem to
alleviate their alien situation among their foes, the Muslims, who ruled over them.
Similarly, the motivation of my work may be understood in terms of the
phenomenon at the end of the second millennium. In view of the critical circumstances all
around the world with wars and rumors of wars, famine and pestilence, earthquakes and
other catastrophes, could it be that these are labor pains for the New Jerusalem?
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