I’ve decided to make my final project a series of communion backgrounds. I’m always trying to find good artwork that is usable for various backgrounds in worship. Due to strict copyright law, I’ve sometimes I’ve found a nice piece but it is unusable. Other pieces just don’t lend themselves to the kind of background needed for the projection of words. In light of our conversations and reading in class there are three backgrounds available of the same photograph each rendered in a different photo-shopped technique, a mosaic, an oil painting and one in the flavor of a cubist style. Each technique comes from a different era.
Mosaic art dates back to the 4th century A.D. and can be found in several ancient cathedrals and tombs. (Found on-line at http://en.wikipedia.org/wiki/Mosaic, accessed December 8, 2008). The mosaics I am the most familiar with are found in the Cathedral Basilica of Saint Louis, in St. Louis, Missouri. All of the ceilings and most of the walls are covered in mosaic art which depicts scriptural stories. Although the space within the cathedral itself is rather cold – given the great size of the open spaces and height of the cathedral ceilings in comparison to the few visitors – the beauty and scale of the artwork is breathtaking.
While paintings and sketches have been done since humans lived in caves, the techniques of “fine art” (fresco and oil painting in particular) were developed by the 15th century. (Found on-line at http://en.wikipedia.org/wiki/Oil_painting, accessed December 8, 2008). The Sistine Chapel is one of the more famous churches that commissioned Michelangelo and other artists to paint, sculpt and weave extraordinary pieces of artwork. (See: http://faculty.evansville.edu/rl29/art340/f04/baroquepainting.html, accessed December 8, 2008).
Early 20th century Cubist paintings makes for what some will think to be a distorted picture, but perhaps they are unaware of what they are looking at. Cubism was an art form that in some paintings tried to picture a subject from multiple sides all at the same time. It was a crude three dimensional view of an object in a two dimensional medium. Cubists realized that seeing through a monocular view was a representation of a subject that lacked the depth that multiple vantage points needed to truly see an image. In a paper I wrote during my doctoral work I argued that emergent theologians and “worship-artists” are similar to these advent-guard Cubits and Dadaists. It is unfortunate that artists and critics in the early 20th Century misunderstood the important work that was being done by the avant-garde artists. It is equally unfortunate that modern critics also misunderstand the work of the emergent theologian and “worship-artisans” of the 21st century. The exciting part of ancient-future worship is that disciples are being engaged from a multitude of directions through coffee house discussions, printed materials, internet articles, videos, music, journaling (web blog), and through relationships that are being forged between us. There are multiple ways of speaking theologically and experiencing worshiping that are fresh and yet well connected to our orthodox and historical faith.
As a side note: it is a shame that some media volunteers don’t understand the need for contrast between words and images, and beyond the simple black-and-white words on backgrounds, some just don’t understand the next level of color composition. The words are contrasted with the background, but the colored words are far from appealing (typically bright yellow or neon orange). These backgrounds should provide some ease of selecting a contrasting color. I would recommend white with a dark, or black, shadow.