J. Gordon Anderson - Contemporary Art

I read this obituary about one of America's famous iconographers, Demetrios Dukas , and felt vindicated when I read this quote of his about icons: "It's a great art. It's a religious art, but it prefigures modern art. It has elements of Cubism, Expressionism, it has everything. … It's an art that transcends nationalities and speaks to everyone." A number of years back I had a show of some icons, religious works in oil, and cityscapes in South Carolina. One person who came out could not understand how I could have religious works and icons in the same show as my cityscapes, because the former are 'realistic' and the latter are very 'abstract'. I told him on the contrary that the religious art that I do - especially icons - are very abstract, so there was actually a lot of similarity between the pieces. He looked at me as though he didn't understand or agree. The quote above vindicated me in a sense, because icons especially contain all

From July 9th - 12th my my icons will be on display at our annual diocesan synod . This year the synod takes place in Annapolis, MD, which is right in my backyard. Consequently I will have a large number of them on display. Please do come and check them out! (Pictured: St John the Evangelist, based on a Russian icon of the Novgorod school, 9" x 12", egg tempera on panel)

We recently were on holiday at a posh resort in a villa owned by my dear in-laws. While I should have found it relaxing, I was eally more stressed than ever. Honestly, I have no use for vacations. I absolutely love what I do, and love my life... why would I want to take a holiday from it? Holiday means, among other things, that I do not have access to my library and my studies, I cannot paint in my studio, I cannot practice my classical guitar, I cannot celebrate Mass, and I cannot work in my gardens. To be separated from all that I love (minus my family, of course, who is here with me) is stressful... not relaxing. Whenever we go on holiday I can't wait for it to be over. I loathe all holidays... unless they are Church holidays (holy days), such as Christmas and Easter.

Last night I spent some time looking at the websites of a number of artists, known and unknown, whose work I enjoy. It had been while since I'd done that, and I really enjoyed myself and felt excited afterwards... full of new ideas and ways to think about things and look at the world. For the longest time I stopped studying at other artists' works because I would become so enamored with it that I would unintentionally (or 'intentionally') begin to copy it, or mimic it. That was a good thing for me to do, because I am the type of person who loves to be influenced by others. But that mentality can be problematic for those, like myself, who desire to hone their own technique and build their own body of work. So that is why I took a break from studying other artists for a few years. It was very helpful. Now, after this "fast," I think I can look at other artists' works and enjoy it, and be influenced by it in positive ways, but not try to emulate it or cop

This winter my studio has been so cold that it simply has not been fun for me to be over there and work. It is sort of insulated, and I have a space heater, but it is still freezing. So finally at some point in January I decided to just not do any work over. While I used to able to stand painting in a freezing place, or sweltering place, the older I get the less I can tolerate it. So until I can better insulate the studio, or build a new one (preferably with a wood burning stove), I will reserve the coldest months of the year for smaller work that I can do in my nice, climate controlled office. By this I suppose I mean icons... and maybe some smaller watercolors. One of the most important aspects of the artistic life is discipline. And part of discipline is knowing what to do when, and what works best in a given situation. That's what this is for me. I simply can't do my best work if I am physically uncomfortable, so there is no point in me painting anything in the frigid c

Lately I have been working on a bunch of icons lately and hope to have at least 20 for sale at diocesan synod in Annapolis, MD this summer. These are the best icons I have ever done. The really exciting, though, is simply working in egg tempera. Today I realized just how much I enjoy this medium. I have to say that were it not for iconography I probably would never have tried egg tempera. It is a great medium in which to work because it is both rigid and flexible... sort of in between watercolor and oil. The amount of detail you can get is staggering, and I really like the matte look of the paint. For now this medium is so closely aligned with iconography in my mind I would never use it for anything else. I once painted some landscapes in tempera and only one of them came out okay. The problem was I was not painting icons! It just didn't work. I love egg tempera, so that means I will be painting icons for many years to come. Perhaps one day I will branch out and try some additional

It occurred to me recently what the most controversial art I have ever created has been. It has been my icons! Never, when I began painting them, would I have thought that these works would be so controversial. In the shows I have had with them and my secular work, and comments I have received from people who have looked at my work online, the icons have always provoked the strongest reaction. Not from icon "purists," mind you, who don't approve of my technique, but from non-religious and atheists! The reaction has never been negative... just a strange sort of... "I am really drawn to these icons for some reason," sort of thing. Invariably the person cannot explain why he is drawn to them when he should be repulsed at them. Even those with no interest in religion find them to be fascinating and intriguing. Does this point to some inherent grace and power in the language of the icon? Who knows. (NB: I should add that my icons also get many positive reviews as

The traditional academic way of making a painting entails doing many rounds of preliminary studies and sketches. Even those who were schooled in the contemporary manner like myself, where traditional methods and disciplines were downplayed, were still encouraged to do preliminary studies in preparation for final paintings. But I have never liked working that way. After graduation from art school I would do a number of preliminary studies for a painting, but found that I aways liked the rough, loose studies over the finished painting. So at one point I decided that it was best to just sketch the drawing on the canvas... just do the studies there, as it were, and let what happened happen in the painting. I've never gone back to the old way. While I appreciate the discipline and craftsmanship that the traditional method involves, for me painting is very visceral and emotional process, and what I find is that the traditional way of working dilutes that process and guts the painting o

Today I came across a term that to me is a good description of the cityscapes I have been painting for years: ruin porn. The term itself refers to pictures of dilapidated cities, most famously Detroit. There is something hauntingly beautiful, and yet sad about the pictures. Here is a link to a sample site: http://twistedsifter.com/2011/02/ruins-of-detroit-yves-marchand-romain-meffre/#.TxseMUvuUJu.facebook A search for "ruin porn" will reveal many other sites of urban photography like this. These images are as much a portrait of man as they are his cities. They speak all at once to his glory, and his decadence; his eternity, and his finitude. There is something very spiritual about them. This is why I have always enjoyed painting cityscapes. For me a broken down building in a poor end of town is a spiritual metaphor for the human condition, and a testimony to the often failed and vacuous pursuits of man. One of my older cityscapes "Tony's on Easte

I have decided to go back to running two blogs with one being devoted to specifically theological issues and questions addressed from an Anglican perspective. Here is a link to it: http://newcontinuinganglican.blogspot.com I will still address theological questions on this blog as well from time to time, so if you are interested do check out both.

I have recently begun updating my website with some recent work, like the one pictured in the previous post. It also has new work that is currently available. All of the newer stuff is in oils. I do not have any new icons available at this time. But.... This summer at synod I'll be selling a number of NEW icons that I currently have in production, including: Christ Pantocrator Our Lady of Walsingham St. James the Greater St. Katherine of Alexandria St. Nicholas The Dormition of the Virgin The Harrowing of Hell The Raising of Lazarus The Transfiguration These are all new compositions. Namely, they are copied from icons that I have never copied before, or themes that I have never painted before. In addition to these I will have new versions of some of the standard themes that I have done in the past: St. George Slaying the Dragon (in a few different forms) Christ Pantocrator Crucifixion (various forms) Descent from the Cross Virgin Eleousa Mother of Compassion

Here is a painting I did recently that is hanging in the parish hall at church. I wanted to paint the theme "Virgin and Child Enthroned with Saints" in a very simple, abstract, yet representational way, using a minimal amount of colors (in this case a "primary" color scheme of red, yellow, and blue). It has been very well-received by everyone who has seen it. The painting measures approximately 48"x 50" 

I feel bad because I have not posted anything in a while. So with the advent of 2013 I have decided to commit to posting on the blog regularly. Despite the non-blogging it has been a busy time... lots of art has been created. The time has been marked by much experimentation. Experimentation can be a great thing. In years past I have been content with exploring the same limited subject matter: cityscapes, the figure, religious work. Once in a while I would do something else that I really enjoyed: an interior; a landscape. So the last few months I have been "bouncing around" a lot, and painting all sorts of different things, and trying new stuff. Why? Well, for no other reason then to branch out, and not be pigeonholed. Perhaps out of boredom too.... painting the same old thing gets old. But my period of experimentation has basically lead me back to where I was before... or maybe even a more restricted place. I am now focusing entirely on sacred art. The experimentation was