The Unveiling (Gk: Apocalypse)

The presentation 1 Last year, my ninety-nine-year-old Aunt Lucy gave me sl morris bookher 1928 copy of The Drama of Christianity / An Interpretation of the Book of Revelation by S. L. Morris. She had received it when she joined the church at age twenty. Why in God’s sovereignty was I the recipient of this treasure instead of one of her children?

Unbeknownst to Aunt Lucy, I had just completed a Bible study on Revelation and had been commissioned by my church to paint a summary of redemption — “creation / fall /redemption” — to commemorate thirty years of our pastor Robert Drake’s preaching. Revelation was the subject of my painting called Scrolls Unfurled. (blog post

The Weight of Glory 12 x12 oil and wax on panel BOMERMorris’s book unveiled this Revelation (literally translated The Unveiling from the Greek word for Apocalypse), which necessarily should not be an enigma or confusing if it is a revealing. God lifts the curtain to his dramatic picture book summarizing who Jesus Christ is, –God “who is, who was, and who is to come!”  It is his letter of encouragement to his bride, the church, called to suffer like Christ, “the faithful witness (Gk: martyr) and first born of the dead.”

Morris writes that “the reason for the confusion of thought is that many regard it as a prophetic revelation of the future. Instead, this dramatic prophecy is an “unveiling” of the purposes of God in the Christian Dispensation; the prophetic events that would take place from Christ’s first Advent until his second coming.” (It has been reprinted and I located twelve copies for a study I am now teaching.)

c. Global City Series He Tabernacled Among Us
He Pitched His Tent Among Us (Global City Babel Series) 24 x 32 inches

Morris’s main point is the dramatic structure of the book, styled after the Greek dramas of John’s day. This divine book contains completely perfect symbolism and seven (perfect) visions in the form of seven panoramas (heptads), which cover the entire Christian Dispensation, from Jesus’ birth to His Return.  The panoramas do not occur in historical succession but are a repetition of the same events in new settings from different angles, each augmenting the next. Like a Greek drama, each of the seven panoramas ends with an interlude and choruses about the coming of Christ or the Judgment scene. Common to dramatic structure it contains a prologue (Revelation 1),  parts, acts, scenes, interludes, choruses, plot and counter-plot, temporary defeat and ultimate triumph.

Stoning of Stephen studyThe Apocalypse is the “big picture,” a comprehensive epitome of the whole Bible, God’s story of salvation. This final Word of God was written for the consolation of the saints, the church militant which should expect fierce conflict but anticipate victory.

(right: study for Stoning of Stephen; below: Outside the Camp Series.)

outside the camp I WEBA drama is to be read aloud! The book begins with this command: “Blessed is the one who reads aloud the words of the prophecy, and blessed are they who hear, and who keep what is written in it, for the time is near” (Rev. 1:3).

3. Bomer, G. Carol - The Last SupperAnd important for not only artists who  attempt to visualize unseen reality but for all who long to see what “eye has not seen,” it is a visual drama! God uses symbols, symbolic images and symbolic numbers. Symbols use familiar things of the natural world to point to the heavenly realm. All of God’s creation is a living revelation of God. To mention a few: animals — Jesus is The Lamb of God and the Lion of Judah; weather — rainbows, earthquakes, wind, and a voice like thunder; colors — white, a symbol of purity; red, a symbol of life, blood and war; and measurements of time and order — twelve, twenty-four, 144,000, forty, and seven, the number of perfect completeness. The seven churches, seven golden lamp stands, seven stars, seven seals, seven trumpets, seven thunders, seven bowls with the seven last plagues, seven eyes of the Lamb, and seven Spirits before the throne, and even seven diadems on the Dragon’s seven (completely evil) heads, reveal that this prophetic Word of God is perfect and complete!

The VineSymbolism was the method of Christ himself for conveying to the minds of His disciples the most impressive spiritual truth as to His person, His mission, and His relation to the individual believer and the church. He said, “I am the true vine,”  “I am the Door,” and “The Alpha and the Omega.”

Explaining the parable of the weeds, he says, “. . . the field is the world, and the good seed is the sons of the kingdom. The weeds are the sons of the evil one, and the enemy who sowed them is the devil. The harvest is the end of the age and the reapers are angels (Matthew 13:36).

The Harvest is the End of the Age and the Reapers are Angels 12 x 12 oil and wax

Mvc-Shachah002f copyAbove:
The Reapers
12 x 12 inches oil and wax

The Seed 36″ x 36″ oil and 23K gold leaf on panel           

The great prophecy of the Old Testament was the first coming of Christ. The great prophecy of the New Testament is the Second Coming. The Apocalypse is the unique interweaving of all the symbols, types, shadows, figures, and fundamental ideas of both Testaments into one comprehensive and final UNVEILING.

Be Lifted Up O Ancient Doors 2

Painting Ancient Doors center panel Door Way to Glory! Ancient DoorsMy installation Be Lifted Up O Ancient Doors references Passover, a lamb’s blood on the  doors, Jesus as The Door, and the triumphal return of the King of Kings who leads his people out of slavery.

All Scripture interprets Scripture. It is God-breathed and reveals Jesus Christ. It is the UNVEILING of His Story from beginning to end.

Another example from the Old Testament is from Ezekiel 9. A scribe is commanded to mark the foreheads of those people belonging to God before he destroys Jerusalem. In Revelation 7 an angel seals the 144,000 “servants of our God on their foreheads” before the other angels are allowed “to harm the earth or the sea or the trees.” Both prophets Ezekiel and Daniel also had visions describing the four living creatures that are repeated in the visions of God’s glory in Revelation.

Ezekiels Vision 1                        Ezekiel’s Vision  12 x 12 inches oil , wax, and text on panel

The second panorama of Revelation is the Opening of the Seven Seals (Revelation 5-6). This vision again reveals how God fulfills his divine plan in the Christian Dispensation — conquering kings (the white horse), war (the red horse), famine (the black horse) and death (the pale horse). Unfortunately in this vision the four horsemen are often separated into an apocalyptic end-times drama (even by Christians). The fifth seal, the prayers of the saints, is equally important in God’s plan and fulfillment of His purposes.

I painted the Four Horsemen of the Apocalypse after 9/11 upon the request of a DC gentleman who sought me out and asked me to help him paint this “apocalyptic” scene.  We worked together and as a result I produced two paintings as demonstrations.

Four Horsemen 1    Four Horsemen2with frame
               The Four Horsemen oil on canvas each 24 x 26 with handmade frames

Albrecht Durer‘s Four Horsemen of the Apocalypse

I especially like Russian artist  Victor Vasnetsov‘s painting because he shows the white horseman leading the way with his victor’s crown. He also shows the Lamb of God in the heavens above in charge of history overseeing his sovereign plan. Jesus is the victorious King of Psalm 45 and the Rider on the White Horse of Revelation 19 .

1200px-Apocalypse_vasnetsov

I made the assemblage (below) The Great Assize / Day of Judgment long before I read Morris’s book. A copy of a playbill from Richmond, VA 1774 is attached to the back of a discarded medicine cabinet. It begins, “By Command of The King of Kings, and all who love his appearing….The Lord Jesus will be revealed along with his mighty angels.”

The sun-bleached horse vertebrae seemed perfect props for this drama! Inside the Veil  The Unveiling or Apocalyse

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ADVENT /INCARNATION III — EPIPHANY

Epiphany is the last celebration of the Advent of Christ. This is my 2014 post.

grace carol bomer

HAPPY NEW YEAR from SOLI DEO GLORIA STUDIO

ADVENT Week 5  (December 29-January 6)  EPIPHANY
We are still celebrating Advent.
This first week of 2014 2015, when our calendars remind us that time is passing, consider things eternal: Celebrate Epiphany, the feast that ends 40 days of Advent!

I’ve discovered that there is more to Advent than the anticipation and coming of “Emmanuel” (God with us) to Bethlehem. The climax of Advent is Epiphany, when The Babe was recognized by the wise men of the world. It is a celebration of the coming of Christ to the Gentiles, not just the Jewish people.

The Magi were members of the religious hierarchy of ancient Persia and Media (the region corresponding to modern Iran). They were scholars and practitioners of astrology and the first Gentiles, men of renown, to come and worship Jesus the King (Matthew 2:1-12).

Hieronymus Bosch painted an account of this historical event in 1495 (detail left — now in Madrid’s Prado).

But…

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Thanksgiving from Soli Deo Gloria Studio -140 D Roberts Street, Asheville

Last September, I posted Updates at 140 D — A year later there are many more updates!
The studio space has been purchased by the glass studio next door at 140 C. And Shelley Pereda, who has held the lease, has decided to leave the studio and bequeath the lease to me–as long as it lasts! 

Thankfully, the glass studio owners have no plans to move into this building for at least a year! They are merely raising the rent! (AND that’s one good reason to have an INVENTORY REDUCTION SALE—that sounds so commercial!) The other reason is, I currently rent space to three other artists: Ron Maffett (painting), Barabara Wade (painting), and Lynda Sondles ( silk scarves and fabric art quilts), with space for one more artist. SO even less SPACE for my work.

UNTIL CHRISTMAS, I am selling my work for half the gallery price. Last week I finished the commissioned pieces for Grace Community Church on the book of Revelation and have canvases waiting to continue this series but need more space. IMG_1121I also teach oil and wax workshops which means I have many 12 x 12 inch paintings for sale. Some are abstract layers of color but like most of my work they are rich in metaphor and spiritual meaning.

(The large piece above Put Yourself In The Path of the Wind http://gracecarolbomer.com/artwork/3653220_Put_Yourself_in_the_Path_of_the_Wind.hAsian influencestml
was featured in a show called Eastern Breezes this summer at the Andrew Charles Gallery.)

I want to take the opportunity at this THANKSGIVING time to thank my patrons and those who have visited my studio this year. Here are several of them holding their new purchases.
new owner KFrench holds her new painting  Wendy from Durham holds her new purchase

IMG_1125

New encaustic monoprints
Using a smooth hotplate I designed the paintings. Then I carefully placed rice papers. (In theses I used Di Chiri 8 x 11 inch paper). Experimented with other surfaces as well. Below encaustic monotype on existing oil monoprint.

The Fall encaustic monotype on Dai Chiri brick rice paper S   encaustic monotype on Di Chiri Japanese paper   encaustic monoprint

One Who Came On the Waters of Time encasutic monotype on oil monotype       One Who Came on the Waters of Time encaustic  monotype over oil monotrype
One Who Came On the Waters Series (framed 17 x 21 inches)

And new giclee reproductions of particularly significant paintings. (see website)
http://gracecarolbomer.com/artwork/3368036_Scrolls_Unfurled.html 

One Who Came on the Waters of Time S  40 x 40 inches                        Unfurled Scrolls -orig20x30   
  One  Who Came on The Waters of Time                         Scrolls Unfurled /Revelation 6
10 x 10  inches on Provence rag paper                            14 x 20 inches on Provence rag

OPEN STUDIO AND SALE
FRIDAY AND SATURDAY
November  28-29
10:00-4:00

Thanks to the LORD, for he is good; his love endures forever.” Psalm 107:1

Let Earth Receive Her King 
http://gracecarolbomer.com/artwork/2982620_Let_Earth_Receive_Her_King.html

Let Earth Receive1-300 dpijpg

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worlds prepared by the word of God

One Who Came on the Waters of Time II will be featured on the August issue of Asheville’s Rapid River magazine.

grace carol bomer

“By faith we understand that the worlds (ages/times) were prepared by the word of God, so that what is seen was not made out of things which are visible.” Hebrews 11:3

My paintings are a process of working and waiting on God to direct my heart, soul, mind, as well as my hand. The Word of God informs both my life and my art. “For in Him we live and move and have our being, as even some of your own poets have said, ‘For we also are his children,’ ” –Paul is explaining the divine to the Athenians at the Areopagus in Acts 17. Life is sacramental in that we are created in the image of God to give him glory.

This painting is upside-down now, compared to my previous post  https://gracebomer.wordpress.com/2013/02/23/one-who-comes-on-the-waters-of-time-a-series/. The sky became water and the earth became sky. This seemed “right” for a painting about worlds (times/ages) suspended in…

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Word (logos) and Image

grace carol bomer

Although logos is common to all, most people live
as if they had a wisdom of their own.
1. p.77. Fr.2  FOUR QUARTETS, T.S. Eliot

Word Image

The above quote by T. S. Eliot is still on my old website(http://www.carolbomer.com/quotesandreadings.cfm). Is T. S. Eliot referring to the Logos, who is outside of our manipulated words and images and puny stories — the Logos who holds all things together (Col.1:15) and whose creation pours forth speech day after day (Psalm 19), –the Logos who was in the beginning with God and who is God?

The Logos created all things that have come into being. And The Logos became flesh and lived among us (John 1). Jesus is the Logos or “speech from God.” He is Word of God and Image of God. My current focus is this dichotomy of word and image and how it can be brought together in Christ, the incarnational mystery that brings heaven and earth together (see my statement at www.gracecarolbomer.com).

Words and images have always…

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In the Garden

 

 The day before Good Friday, before Jesus was betrayed by Judas and tortured and crucified by the Roman occupiers, he prepared a meal for his disciples instituting the sacrament of Holy Communion and then spent the night wrestling In the Garden.

This popular painting of Jesus In the Garden by Heinrich Hofmann hardly captures the crushing agony Jesus experienced. It was a night of wrestling before the cosmic battle to conquer death.

And he went out and went, as was his custom, to the Mount of Olives, and the disciples followed him. And when he came to the place, he said to them, ‘Pray that you may not enter into temptation.’ And he withdrew from them about a stone’s throw and knelt down and prayed, saying, ‘Father, if you are willing, remove this cup from me. Nevertheless, not my will, but yours, be done.” . . . And being in agony, he prayed more earnestly; and his sweat became like great drops of blood falling to the ground.” (Luke 22: 39 ff)

The Garden of Gethsemene is located at the foot of the Mount of Olives. In Hebrew the word Gethsemane means “olive press.” I wanted to paint the ironic gravity of Jesus’ night of  prayer In the Garden of crushing. I painted his body in the shape of an olive. He was pressed hard and his sweat like great drops of blood spilled to the ground.

Bomer,G                    In The Garden   48 x 48 inches oil and mixed media on panel

Olive Press with red juiced flowing down.The photo to the left was taken at the Garden of Gethsemene. The baskets of olives are being pressed to obtain the oil.

(The color of the fluid from the baskets of olives is a dark red. This color remains until the particulate matter has settled leaving the pure olive oil on top.)

 

 

photo 4 (3)

photo 3 (3)

On Christ’s back is a dead olive tree which foreshadows the cross. “Without the shedding of blood there is no forgiveness,” is the text from Hebrews 9:22, scrawled across his back.

Levitical laws forbade the eating of blood, “. . . for the life of the flesh is in the blood, and I have given it for you on the altar to make atonement for your souls, for it is the blood that makes atonement by the life.” Jesus knew this law, and he instituted the “last supper” with his disciples before they went to the garden. He said, “‘Take eat; this is my body.’ And he took the cup, and when he had given thanks he gave it to them, saying, ‘Drink of it, all of you, for this is my blood of the covenant, which is poured out for many for the forgiveness of sins.'” This sacrament is the celebration of The New Covenant of Christ’s blood, the sacrificial Pascal Lamb!

photo 1

As illustrated in my installation below, when the people of God when held captive in Egypt, they were commanded to kill a lamb and with a branch of hyssop smear its blood on the lintels of their doorways. The angel of death would see and “pass over” their houses.

Be Lifted Up O Ancient Doors 2Be Lifted Up O Ancient Doors, and the King of Glory Shall Come In 
installation at Grace Center Gallery 2004

The Sacrifice.Slaughter House 004
The Sacrifice   20 x 30 oil and mixed media on canvas

3. Bomer, G. Carol - The Last Supper
The Faithful Witness    7 x 7 mixed media on panel

“To him who loves us and has freed us from our sins by his blood.”

LET EARTH RECEIVE HER KING

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18 Ways of Seeing: Selected Bold Life Artists

Art is born and takes hold wherever there is a timeless and insatiable longing for the spiritual.   —  Andrei Tarkovsky

We humans have an insatiable longing for the spiritual. We are body, mind, and spirit created to worship – to “give worth to” the God who created us. If we do not “give worth to” God, we will worship something or someone. The spiritual world is as real as the material world, and we long to apprehend it. This is where the artist comes in.

Federico Fellini, one of the most influential filmmakers of the 20th century, said, What is an artist? A provincial who finds himself somewhere between a physical reality and a metaphysical one. . . . It’s this in-between that I’m calling a province, this frontier country between the tangible world and the intangible one which is really the realm of the artist.

This province is my concern – to bring the seeming dichotomies of the visual world and the spiritual world together. Of course, I can only attempt to bring them together. It is the God/man who brought them together at a time and space event called the Incarnation. Here God became a man, Spirit became flesh, and The Word became image. This is the extravagant mystery — the earth-shaking event that brings meaning to physical reality and metaphysical reality. Christ, the God/man alone holds both realities together. (Col. 1:15ff)

My “way of seeing” is inspired by the incarnate Word of God. In the beginning was the Word, and the Word was with God and the Word was God, . . . and the Word made his dwelling among us (John 1). This double-edged sword of wonder – in all its terror and irresistible truth liberates my imagination as Francis Schaeffer says, to fly beyond the stars.

The above paragraphs represent my statement for a show called 18 Ways of Seeing: Selected BOLD LIFE Artists. Curator Rimas Zailskas, the publisher of Bold Life Magazine, has chosen 18 artists to show next month (March 21-May2) at the Upstairs Art Space in Tryon, NC. I have known and appreciated Rimas and Mary’s contribution to the arts of Western North Carolina so I am happy to be included in this show. (There is a review in the March issue of Bold Life).

Each artist submitted three pieces. My selections included my most recent work with oil and cold wax medium and a bit collaged elements in two of them. I will add a short statement with each so you can see not only my process but my “way of seeing.” (And in a later blog, I will review the show and the other “ways of seeing.”)

BOMER One Who Came on The Waters of Time 40 x 40 inches oil and coldwax on paneljpg
One Who Came On the Waters of Time     40 x 40 inches     oil and cold wax on panel

Oh voyagers and seamen, this is your real destination…not farewell, but fare forward voyages. (T. S Eliot’s The Dry Salvages)

Seek the eternal in the present,
seek it in the past and the future,
link them with the trajectory of your course,
for you are,
you are,
you are the vessel. (Michael O’Brien’s Island of the World)

The title is also taken from Island of the World.

Cold wax mixed and oils are layered with my brush, a dough scraper, which makes random marks and smooth areas. In the first layer are the scribbled text of Psalm 19. Day to day pours forth speech and night to night reveals knowledge. I worked dark to light, beginning with a night sky over reds. Later I added the light values sculpting out the vessels in negative space. This painting is one of my  Vessel Series.

Parachurte Dummies 36 x 36 inches mixed media on canvas
        Parachute Dummies  36 x 36 inches  oil, charcoal, wax and gold leaf on canvas

This painting is from my Nets of God Series. I discovered images of World War II parachute test dummies on a site called Obsolete. They were haunting reminders of man’s broken condition. We are Parachute Dummies. But for the grace of God we can not fly.

I arranged photo copies like The Three Graces. The central image is surrounded by gold leaf glory; the other two are shadow-like photo transfers. Over these is a minimally drawn charcoal figure.

Beauty is not only a terrible thing, it is also a mysterious thing. There God and the Devil strive for mastery, and the battleground is the heart of men. Fyodor Dostoevesky

And finally The Last Battle from my Bending to Love Series.BOMER The Last Battle 36 x 36 oil on canvas )
     The Last Battle / “Sorrow and Love Flow Mingled Down”  36 x 36 inches on canvas

I randomly attached a stamp commemorating Robert Motherwell’s painting Elegy to The Spanish Republic onto a canvas prepared with a wash of golden acrylic. Preparing for the battle I guess, because months later I was invited to paint during a forty-five minute music service at Biltmore Baptist Church. (Since this canvas was prepared it became a “speed-practice piece.) Ironically the dark circular shapes of the Motherwell stamp about war became similar repeated shapes in my painting about THE war in the heavenlies!

This crucifixion view is from the Father’s perspective. His Son’s thorn-crowned head is bowed in hesed (eternal, humble) love — the sacrifice that bruised the head of Satan, the fatal blow foretold in the beginning (Genesis 3:15).  Revelation 12 also tells of this war in heaven when Satan was defeated and thrown down from heaven to the earth. And a loud voice in heaven said, “Now the salvation and power and the kingdom of our God and the authority of Christ has come, for the accuser of our brothers has been thrown down … and they conquered him by the blood of the Lamb.

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