Artists express their spiritual and religious beliefs through their work in a number of
ways, but probably one of the oldest and most traditional is through the use of religious icons.
Christina Saj is an established artist who not only carries forth this
sacred tradition through her work, but she is also someone very much of her
own time - giving her iconic art a contemporary spin as well.
I hope you will find her interview as informative and interesting as I did!
~ diane fergurson
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| Birth of an Angel, mixed media |
MBS: Can you tell us a little about your background?
How did you get started making art?
Christina: Painting is my destiny. I have always enjoyed making things and had
a bent for it. I formally declared my intention in first grade
having entered a poster contest about "what I want to be when I grow
up". Even then, I was certain I wanted to be an artist. Our entries
were hung in the window of a local department store and I won first
place. It was the first acknowledgement of my interest and the sense
that I had talent. As a kid, I took elective classes whenever I
could and was determined to start working in oils by high school. I
explored a a variety of media, but was always drawn to painting.
My ethnic background is Ukrainian and I was lucky enough to know
several working artists growing up and it seemed to me to be a
viable occupation. Although a good student, by the time I went to
college I was looking forward to being able to focus more on artistic
pursuits. I went on to receive a BA in Fine Art from Sarah Lawrence College, followed immediately by an MFA from Bard College. While
still in college I had an apprenticeship with a noted Ukrainian
Iconographer Petro Cholodny the Younger in hopes of mastering egg
tempera and the precepts of icon painting. These lessons stayed with
me. Though I went on to pursue contemporary renderings my work is
deeply rooted in the familiar tradition which had become part of my
vocabulary.
MBS: It's interesting that you said you had
the opportunity to be around working artists growing up. That can make such a huge difference in the choices one makes to
pursue an artistic life. What are some of your thoughts about that? What did you take away from that experience?
Christina: Being around working artists makes it real, viable
and possible to imagine a life that is built around the serious
pursuit of creative efforts. It's not about that imagined,
romanticized ideal of what we think it should look like. They were
normal people, not all rich or famous, but contributing and
realizing their talents. I was also lucky to be part of a community
that respected artists and supported them. Artists were just part of
the landscape with the gamut of all people who make up the community
at large -- it was just another job description.
I got to see them function, and saw the mechanics, which were often
messy, all encompassing and not necessarily idyllic. Artists create
in the middle of it all... it doesn't stop or start like a 9-5, its
always there. It can be all consuming and keep you up at night or if
you're blocked keep you indefinitely at bay. You have to have the
ability to make work regardless of the resources, for making good
art and good money don't always follow, though they can. By
necessity artists often had creative solutions to issues of
"employment" or economic stability. I saw that artists have to have
a glimmer of hope an idealism I suppose. But most of all you learned
that artists can make magic anywhere, without pristine beautiful
studios and all the perfect trappings that one imagines in the ivory
tower. In their little corner of the world, sparks can fly. Making
good art is about ideas, mastering skills, and practice! practice!
practice! Being an artist isn't about where you live, having time,
or who your friends are (though a community is necessary for
support and dialogue). It's about doing it every day, expanding on
ideas -- and hopefully making things that resonate and have meaning.
I accept that creating is part of my life and always will be, in one form
or another. I trust my gut. I realized early, that I had a vision
which was compelling and felt worthy of focus and letting go of
expectations to make room to do serious work. Twenty years in, I still
just try to embrace the chaos and savor the joy of the creative act
itself. I try to channel it so that I can be productive, content and
continue to grow while managing all the pitfalls and demands of a
full life.
 |
| Archangel Gabriel, egg tempra |
MBS: For those who may not be familiar with
it, what is Iconic Art?
Christina: Byzantine icons are sacred paintings of holy figures often depicting Jesus, Mary, saints, angels,
or biblical scenes. They are devotional paintings used in prayer and
often adorning eastern catholic and orthodox churches. They are rich
with symbolism and there is a long tradition of rigid precepts
making they decipherable to anyone who has been exposed to their
vocabulary. Figures were always depicted the same way and inscribed
with initials, to make them recognizable. Their purpose was
didactic, as they were used in the early church to illustrate the
narratives of the bible. The general population, then often
illiterate, could remember the stories as they explored the images
painted throughout the walls and ceilings of the churches. Small
panel icons were used in personal devotion as a means communing with
God.
MBS: What do you find about Iconography/Iconic Art that is
so compelling or interesting that you have made it the focal point
of so much of your work?
Christina: I adore abstraction. I grew up with a deep appreciation for the
modernists and relate to their breakthroughs in non traditional
representation. But, I realized that often it helps to have a point
of entry for a painting... and in the end as an artist I need it to
communicate something fairly specific. It seemed only natural to
look to stories. Mythology and folklore with their mystical
qualities seemed like rich areas to explore that lent themselves to
bright color and fantastic depictions and these are areas I still
explore. Icons were a natural for me because they were part of my
experience. They have a rigid structure for telling stories which I
could reinvent and make my own and yet work within the confines of a
vocabulary people could understand. This offered another layer of
appreciation and meaning, for in an icon it's all about symbolism.
There is also actually a tight correlation between abstraction and
the way figures are represented in icons. Because the figures in
icons are not of this world, they weren't held to the same
expectations. Perspective was distorted and there was a sense that
things were not supposed to be of this world. Finally, the way they
were actually executed was by building up flat planes of color which
meant that the approach was really based on the principles explored
by the modernists, with whom I felt a kindred spirit.
I also think that in order to be good at something, you have to
really know it, study it, and keep at it. Today art is full of
casual appropriation. We live in a world where it's easy to cut and
past "loaded" images, one that have ideas associated with them...but
more often than not artists are not necessarily versed in tradition
and technique. It's easy to make something look clean and finished
without lifting a brush or knowing how to physically MAKE something.
Artists traditionally make things. In this digital age, I feel even
more compelled to do so. I feel it is my obligation to know my
tactile craft, to practice expertise and continue a tradition so it
is not entirely lost. Though as is evidenced by my work, I believe
in evolution and change to reflect the age you live in. But
significant contributions don't usually just happen. You work at
them.
 |
| Guardian Angel, mixed media on panel |
MBS: Oh I think that's a
terrific point about a lot of artists' not actually
having or utilizing the physical ability to MAKE
something. And when they do, it tends to be craft
oriented, not really art. Not that there is
anything wrong with crafting, but still... Speaking
of making things, can you tell us a little bit about
your process when you make your artwork? For
example what materials do you use? What sizes do
you work in etc?
Christina: In learning to paint icons I studied egg tempera. When I do
more traditional pieces for devotional use, in egg tempera I
build my own boards, make my own gesso, lay gold leaf and make
my own paint from pure pigments. So it's involved and
relatively speaking slow. It can take a week or two to prepare
the substrates alone. Egg tempera is then built up. It's a
fairly thin paint, opacity depends entirely on the individual
pigment, so often a fair amount of layering is required.
Because you make your own paints, you can mix them differently
than commercial pigments and there are specific steps in
preparing grounds for gilding.
As citizen of the 21st century and with a natural curiosity
about materials, I have worked on glass, metal, wood -- and
enjoy finding interesting ways to arrive at traditional
elements such as gilded surfaces through use of a variety of
different metallic surfaces. I started working in oils in high
school and have worked on a wide range of surfaces to achieve
different effect. My scale is often dictated by project
itself. When working on an installation in a worship space,
the needs are usually for large scale pieces. I've often found
creative ways to provide work which is developed with a
specific space in mind. Recent projects have often been driven
by a request or invitation to a particular venue, but I
continue to explore things of keen interest to me often
initially on a small scale which I really enjoy. There is
something delicious about working on an intimate and personal
scale.
Although I don't want to digress, I do recognize that with the
commercialization of prefab art supplies there is a tendency
to go with easy out of the box... one of those. I do see that
the proliferation of "craft" materials with projects in mind
and defined end goals really don't teach people how to be
truly creative or to think independently. So much of being an
artist is about finding a voice and developing basic skills
which lead you toward a vision. The time it takes to master
these things affords you time to explore and think and really
understand what you are doing. It's not just the end product
that is the driver, though making gesso and doing preparatory
work such as building boards isn't always compelling work
there is something about the act of preparing for the mark
making which makes the act more sacred.
 |
| St. George and the Dragon, egg tempra |
MBS: What are you currently working on? Do you work in
a series? Any particular shows or
commissions on the horizon?
Christina: I tend to work on a number of things at once... bouncing in and out
between several pieces. I have been exploring some new media
recently. So I've been doing some experimental works that have
really just afforded me a place to just play. With 20 years in, a
recognizable style, and a personal vocabulary it's easy to settle
in. I've done half a dozen solo shows out of state in the last few
years and so I've decided to consciously slow down and to stretch
and allow myself room to expand my repertoire and try new things. I
am always intrigued with reflective surfaces and have been looking
at different ways to achieve that. I have also been allowing myself
to do a lot of small studies which stand on their own rather than
building towards a larger work. I often do work in series. The
parameters of which can be determined by any one of a number of
variables, scale, media, shape and/or subject.
I show in traditional gallery environments, but also often in
liturgical spaces. I have been lucky to have requests from venues to
exhibit bodies of work and or to do installations. When in religious
venues, they are often tied to the liturgical calendar. I am just
getting started on a series on the stations of the cross. I have had
repeated requests and am now ready to tackle it. It will be featured
next spring. The work surrounding icons is built on research an
study of prototypes. I want my reinventions to come from an informed
and carefully considered position. I keep books of notes with areas I have intentions to explore, and sometimes things need to
germinate so you can build up to them. I also find ideas come when
I'm in the middle of series and working on a project and get ideas I
can't get to till I'm ready for the next one.
I have been fortunate that in the last couple of years I've had
museums approaching me for inclusion in curated exhibits. This
winter there will be a show entitled "Sacred Voices" at The Canton Museum in Ohio which shall feature contemporary Christian,
Jewish, and Muslim artists who are seeking to express
faith through their art. It being done in conjunction
with another exhibit at the museum
entitled, Illuminating the Word: The St. John's Bible.
 |
| Mother of the Sign, oil on panel |
MBS: Since we originally met, you have children. How
has motherhood impacted your life as an artist?
Also, what is a typical work day like for you?
Christina: Motherhood is a blessing, but also a challenge if you want to do
serious independent work. I had a well defined identity as an
artist before I had kids. This meant I was actively involved in
it when they showed up and couldn't imagine my life any other
way. I didn't question my commitment at that point, but I
certainly faced the challenges of all working women. Children
make your life rich and full, provide insights, joy and shift
our perspective as well as providing lots of distraction. They
need and want attention. But I try to set realistic goals and
work hard.
Right after my daughter was born I was working for a
semester as an Artist in Residence at New Brunswick Theological
Seminary at Rutgers University and did a temporary 300 square
foot installation before she was 8 months old. As a baby she
often came with me to the studio and the project was flexible
enough that I could do it. Once they start walking it's a
different matter. Then you need help. I feel lucky that I can
make my own schedule and most of the time be able to be
available when my kids need me and found help for when I had to
really focus. There are definitely days I struggle, am tired and
feel like balance is a real challenge. I try to work around my
family's needs, but I consciously carve out time to do projects
that are important to me. Exhibition schedules being what they
are, we often plan exhibitions long in advance. When my son was
born I had several out of state shows that had been scheduled
long before his arrival. So I tried to just pace myself.
The
early years are a sleepless blurr, but prolific enough. I did
six solo shows in the last three years, so where there is a will
there is a way. Since the they arrived I have carved out time
that I can work every day, hiring someone to take care of them
at least for a few hours a day so I could work. I believe in a
disciplined approach. I was never one for hanging around waiting
for inspiration. This served me well once I had kids. Generally
I work in the early part of the day. My daughter is in school
now, so I revert to mom most afternoons revisiting my studio and
anything left over from earlier in the day in the evening.
The prism of youth invites us to rediscover the world and certainly, I have been inspired to do work which will have resonance and
meaning for them. I have several pet projects I want to get to which
certainly find their roots in my experiences with the kids, still
working on fitting it all in, but taking notes for future reference.
 |
| Protector |
MBS: I see that you are selling some of your work online
now. How has the whole online experience been for you
, not just in terms of sales, but networking etc?
Christina: The web has leveled the playing field for artists. It is an amazing
resource that can serve you well and the whole world is your
audience. I was an early adopter. I have had a website since 1996.
There is no question that it has afforded me visibility, increased
exposure, and many opportunities which might not have materialized
otherwise. It's a great way to stay in touch with other artists,
dealers, collectors and just plain old art appreciators.... while
pursuing this isolating work in the studio. Selling online means
your work is readily available to the general population. And I
think that the tools available today are frankly amazing. It has
changed the way we communicate, and given artists, especially folks
getting started big advantages. I have forged new relationships and
stayed connected because of the net. I certainly try to use them but
it's important to remember they are just tools. The message is still
key. If you are looking for an audience there is no question that
there is one out there... so I think artists should embrace the web
not be afraid of it.
MBS: Any advice for those who wish to (seriously) pursue
an artistic path?
Christina: Make the best art you can, push yourself, stick to your guns and stay focused. Relish the creative act itself. That is
where the magic is and what it's about at the core.
To "make it" in any sense, you have to work hard, you have to
love it, you have to develop a thick skin and not get
discouraged.
thank you Christina!
Christina Saj is a painter who lives
and works in NJ. She holds a BA from Sarah Lawrence and an MFA
from Bard College. Early in her career, she mastered the technique
of Byzantine Icon painting. Her contemporary interpretations of icons have been
widely exhibited including such venues as the American Bible
Society, Union Theological Seminary, The Ukrainian Museum in New
York, Museum of Cultural Heritage, Kiev Ukraine, the American
Embassy in Qatar as well as at the White House.
Her works reside in private and museum collections in the US and
abroad.
You can contact Christina at: chryssa@artonline.net or visit her shop on Etsy.
Her website is at: www.christinasaj.com
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