Madonna and Child; Pieta - 2021

Madonna and Child and Pietà are executed predominantly in egg glair tempera and gold leaf, materials traditionally used on vellum, and familiar to me as an iconographer. The imperfections in the vellum samples remind of the imperfection and fragility of all life. And yet, seeing that one piece with its two holes inspired other thoughts of two, of mother and child, of the beauty and sacredness of new life—despite all its uncertainty and imperfection. Mother and child, vellum, traditional materials, iconography, all point naturally to the sacred image of Madonna and Child, connecting not just to the sacred prototype and the artist who produced it, but to the whole deep Christian narrative of the birth and death of Christ; and so, Pietà is the natural choice for the partner work. Gold thread is added, a nod to traditional repairs to vellum done by stitching, but expressing the connection of Christ’s incarnation, passion and death, and the hope of reconciliation and wholeness brought through them to all of humankind.

Lynne Gray

Lynne is a Melbourne-based artist and teacher. Her practice is diverse, ranging from iconography and illuminated manuscript painting (skills she developed under the tutelage of Ursula Betka), to the free and expressive styles of the contemporary mixed-media artist. She utilises a range of media and techniques, including egg tempera and gold leaf, verre églomisé, illuminated manuscripts, watercolour, acrylic, gouache, ink and encaustic. Much of her work is incorporated into handmade journals.

Lynne’s deep faith informs all her work. She is an active member of the worshipping community at St. Paul’s Anglican Cathedral, Melbourne, where she has been privileged to stage a solo exhibition, and to contribute from time to time to the artistic life of the cathedral, including annually writing the icon of Easter on the paschal candle.