Artist's Statement

I am very orthodox and strictly follow the teaching of the Magisterium of the Roman Catholic Church. My focus is more on helping individual Christians to pray through these "windows to eternity" (as icons are called) such that they may experience a taste of the invisible much like a beautiful piece of classical music transports the listener to another dimension.

I began writing icons mid-life about the time that I became consecrated to God in a private vow. I had been a visual artist and art educator all my life, but had never before tried iconography in this classical art tradition of the Church. Writing icons is now a part of my artistic life and apostolic work, and as a consecrated lay woman, it is written into my personal rule of life. Writing icons is a form of prayer and meditation for the artist and for those who own the works and pray with them either in public places or in private home devotions.

Even before I began iconography, my art works dealt with universal religious subjects, and I still continue with this art, but iconography gives me an opportunity to be part of the sacred art tradition of the Church which stretches back in time for almost 2000 years. There is something quite exciting about being part of an ancient tradition which continues up to our times. I feel one with all the Christian artists of the past who have struggled to put into visible form the invisible mysteries of our faith and who have taken direct inspiration from Scripture and Tradition. As St. John Paul II says in his 1999 letter to artists, "Thanks to the help of artists the knowledge of God can be better revealed and the preaching of the Gospel can become clearer to the human mind."

Whether I paint in a modern style or I write icons in an ancient style, it is my way of expressing the universal yearning for God. St. Augustine's famous quote comes to mind - "You have made us for yourself, O Lord, and our heart is restless until it rests in you." (St. Augustine’s Confessions) Icons point to the world which we cannot grasp on this side of eternity.

Sometimes I strive to write traditional icons such as Pantocrator, and sometimes, when I have a particular commission, I will use the ancient materials and techniques to make a modern religious subject. Our Lady of Hope is such a painting. At other times, I will find a painting from the Early Renaissance Period (my favourite era) and try to reproduce it with some adjustments such as simplification, enlargement and/or repairs of damaged areas. The Annunciation is an example of this.

By re-making paintings from the past, by talking and writing about them, I strive to make them alive for our times and this is part of my apostolic work of re-Christianizing a largely secular society, and re-educating people about the meaning of the Christian symbols which are embedded in the icons.

Of the three transcendentals Beauty, Goodness and Truth, Beauty is the least threatening. Beauty speaks to everyone and doesn't tell you how to live and doesn't tell you how to think - it is non-judgemental. The beauty of art in general, or an icon in particular, can speak to the soul of even an atheist. In recent years there has been a great renewal and appreciation of iconography in the Western world and I am pleased to be part of this awakening.

Biography

Patricia was born in Kent, England and attended a convent grammar school until her family emigrated to Canada in 1962. She completed a bachelor of fine arts degree from the University of Alberta (1971) and a masters of fine arts degree from the University of British Columbia (1988). From 1975-85 Patricia began exhibiting modern art in various galleries primarily in Eastern Canada (Ontario and Quebec). Having moved to Vancouver, British Columbia for graduate school, she continued to teach art and exhibit professionally.

In 1999 she studied iconography with Vladislav Andreyev of the St. Petersburg School Tradition who was on a lecture/workshop tour in Vancouver from the Prosopon School of Iconography, N.Y., USA. In 2000 she continued these studies with Vladimir Blagonadezhdin of the Byzantine School Tradition, and later local iconographer Frank C. Turner, colleague and mentor. From 2004-2020 Patricia developed gilding skills with Ana Diaz-Drew, European Master Gilder and graduate from the Academy of Applied Arts and Artistic Professions in Madrid, Spain, who is also her colleague and mentor as Ana now resides in Vancouver.

In 2004, Patricia joined the newly formed Epiphany Sacred Arts Guild, a British Columbia Society of Catholic sacred artists and associates which promotes the practice and appreciation of sacred art as defined by the magisterium of the Roman Catholic Church. As member of the executive, she curated some of their biennial exhibitions of locally produced sacred art.

From 2009-2011 Patricia had an opportunity to visit Rome, Florence and Assisi to observe first hand some of the great works of sacred art in Western civilization. These trips inspired and challenged her to continue on her path to write icons and to replicate 14th century sacred art works to which she is drawn.

Patricia currently continues to paint/write icons and other sacred art works both in smaller devotional sizes as well as larger scale public works. Her original paintings, icons and quality prints are in local and private collections in Canada as well as in local Vancouver churches and chapels. She currently works from her Port Moody, B.C. studio where she also mentors students.

Supported by Lancaster's Women's Iconography in the 21st Century research project, Patricia led an iconography workshop with students of St Wilfrid's C of E Academy, Blackburn, in May 2024, organized by Dr Azelina Flint. This short video, produced by Paul Green, includes an interview with Patricia and tells you more about the workshop. We are grateful to the university's AHRC Impact Acceleration account for funding this initiative.

Contact: patriciaballardfinearts.com
Epiphany Sacred Arts Guild: epiphanysacredartsguild.com