Passion to Pentecost by Linda McCray, MFA

Artist Sacred Art Statement
Linda McCray, MFA

My goal for the abstract spiritual original paintings I create is to translate sacred realities into mainstream contemporary visual language to ignite spiritual imagination. There are a number of ways to translate transcendent reality into paint. To form visible signs of invisible grace, I use abstraction which—so powerfully through color, line, and texture—speaks directly to the heart. I layer my paintings with symbolism for those who choose to read them cognitively.

To create symbolism, I use abstract elements, certain materials, and selected painting methods. For example, in Passion to Pentecost, the triptych format of three panels symbolizes the Trinity. Passion panel, I poured the paint to express His shedding of blood for our sins. To layer my painting with symbolism, I dripped the red paint in the form of the five wounds of Christ. Easter panel, I dripped paint towards heaven to convey resurrection. The gold and light symbolize divinity. In the Pentecost panel the color red symbolizes tongues of fire and few brush marks imply a dove, a symbol of the Holy Spirit. To capture feelings of grace, light and God, I use a number of techniques including the old masters' use of glazes to capture luminosity. I integrate found objects that abound with symbolism, such as sand from Jerusalem . The torn-like edges symbolize that they are a part of something much greater.

My art direction is connected to the long tradition of artists who have turned to a world we cannot see except through faith. I could not ask for a richer history to follow. The Spirit has motivated art making over time in many cultures. While these paintings have specific religious meaning to me, I hope that they lend themselves to universal messages.

I very much believe in what Pope John Paul II had to say about art, “Art has a unique capacity to take one or other facet of the message and translate it into colors, shapes and sounds which nourish the intuition of those who look or listen.” It is important to me to translate the Gospel and universal spirituality into a contemporary visual language. One of my favorite visual examples, of past use, is St. Patrick's use of the shamrock as the image of the Trinity. He understood our need to express an abstract notion concretely.

As G.K. Chesterton, an early twentieth century writer wrote: “In the beginning there was art for God’s sake, then in the Renaissance there was art for man’s sake. Beginning with Impressionism there was art for art’s sake. Now, unfortunately, we have no art for God’s sake.”

I strive to bring back art for God’s sake.