The Bay Discovery Center, Moseley Square, Glenelg, S.A.
Group exhibition - August 31 - September 21
Red Opus Art Space
35 Kensington Rd, Norwood SA 5067
Exhibition as 'guest artist' with Splashout Studio members. - 2 August - 25 September
Tomich Wines Cellar Door,
87 King William Rd, Unley SA 5061
Phone:(08) 8299 7500
Splashout Studio Art
Best 'Little Art School' in South Australia. Tel: 08 8296 3859 Email: firstname.lastname@example.org Web: www.splashout.net.au
Resurrection of The Christ
‘Resurrection of The Christ.’ 100x75cm, painting and synopsis:
‘For our sake he was crucified under Pontius Pilate; he suffered, died and was buried. On the third day he rose again to the living from the dead in fulfilment of the Scriptures;’
My painting is centred on Catholic doctrine and offers a personal interpretation for both the curious and unfamiliar audience as well as for the hopeful romantic.
On pondering the supernatural, Christians believe in the resurrection of Christ, the lord and saviour of all men. Anyone who is not familiar with this doctrine, or anyone who is familiar but sceptical, might assign ‘memetic innovation’ to its core message, whereby the good news of the Gospel is perceived as a man made ‘work of art’ created with a specific purpose. That being to potentially dictate the conduct of civilisation through the promise of eternal life in the hereafter.
On the contrary, the message brought to us by the Christ, if you do believe, offers proof, given to us by God himself, that he is real and that there is the good news of life after death.
As the story goes, God made himself man. He lived as an example of perfect humanity and died an example of perfect submission. His death was real and terrible; and immediately after death he descended to the dark depths of Hell. Not however to wallow in the blackness of death, rather he went among the dead to preach the Gospel, to bring the good news of eternal life to the already dead. And it was then that all the believing souls were for the first time freed to go to heaven to be with their Lord and God for evermore.
After three days in Hell he rose from the dead and it is this precise moment that my visual story tells. The Christ coming out of the place of the dead and the souls now saved but unseen make their silent way to Heaven where the Father awaits them. As he arises from that place of death his flesh is transformed, he is glorified to the point of unearthly perfection, so much so that he is unrecognisable to his grieving earthly companions and disciples, except for his wounds which remain on his hands and feet and in his side as the only proof left of his earthly death.
Visually, I’ve attempted to make a work that appears battered but loved, neglected yet intriguing, somehow familiar but entirely new. Because, is it not miraculous that thousands of years later this foundation of our culture is something to be marvelled at? The very diversity of faith sees conflict all around, with some of us clinging to its promise and keeping the laws, while some of us remaining sceptical of its mysticism and rebellious towards its tradition. Likewise others are denying Christ's very existence entirely, and there are those committed to changing the story and altering the message and the history, using historical forensic evidence and/or ‘inspired’ interpretation. But ultimately we all have one thing in common in the matter of the Christ, we all have heard of God and we all know there was a man called ‘Jesus’. Sincerely, Cat Leonard.
Submitted to the cathedral art show, September 2017.
St Michael redacted. Oil on canvas, 50x40cm A translation of Guido Reni's famous renaissance painting, St Michael Defeats Satan.