1995-005A
***** (No.: 1995-005A, two stained glasses that frame the entrance door.)
No.: 1995 - 005 (Photos of the stain glass: A and B)
(Photos of the right wall: C to M)
(Photos of the left wall: N to Z1 plus and Z2, Z3)
(Photos of the choir: Z4 to Z10)
Title: ''The Garden of Prayer.''
Size: The left and right walls and the core are painted. The entrance wall is stained glass.
Materials: Murals: Oil, ink, silk paper, gold leaf, varnish.
Glass: stained glass, tin, copper.
Category: --
Note: No
Comments and / or explanation:
***** (At the request of Bishop Valois (Contrary to what is reported in newspaper clippings, the Bishop asked Monique, during a meeting between her and him to follow his from his office and led her to his chapel, then he asked her if she would agree to execute murals and review the whole of the decoration.) Monique painted murals on the walls of the chapel. One of the walls (the entrance to the chapel) is a stained glass work of her creation. The work began in 1988 and officially ended December 12, 1995 at an opening. Monique painted the chapel in her ''free time’’, finding here and there a few hours almost every week to advance the Work. She also made a lot of research, studies, consultations, meditations and prayers throughout this journey''.''
***** (The following is the text that was read at the opening, I transcribed it in its entirety because it contains all the religious references of the work and identifies the characters and symbolism that relates to everything. Note: Each picture will be treated individually.)
December 1995
PRESENTATION
THE PICTORIAL WORK AND THE STAINED GLASS
COVERING THE WALLS OF THE CHAPEL
ARE NOT A DECORATION NOR AN ORNAMENTS
THE ARTIST MONIQUE JARRY THAT CREATED THEM
WANTED TO HONOR
GOD THREE TIMES HOLY THAT SHE LOVES AND ADORS,
AND TO HIS SON JESUS AND THE VIRGIN MARY, HIS MOTHER.
THIS WORK IS A TEACHING AND IT FORMS A WHOLE.
IT CELEBRATES THE WORK OF GOD MERCIFUL CREATOR,
FATHER, SAVIOR AND LIGHT OF THE WORLD.
IT ATTEMPS TO ILLUSTRATE THE MAGNITUDE OF THE MYSTERY AND OF ITS CREATURES AND THE INDISCRIBABLE MARVEL OF THERE SALVATION.
THE ARTIS WANTED TO DO THE WORK AS A GESTUR OF
RECOGNITION AND AFFECTION TOWARDS THE CHURCH OF THE DIOCESE, THE BISHOP, MGR. CHARLES VALOIS,
AND ALL THE FAITHFUL BAPTIZED.
PRAISE AND GLORY TO GOD ETERNAL,
FOR ALL CENTURYS.
AMEN.
***** (Next page)
Throughout history, faith and art almost always worked in perfect
harmony to convey to the Christian people the richness and beauty of the
message of faith. Some may believe and say that the Christian religion
is no longer a source of inspiration sought by current artists.
Wee have here before us the clear evidence that an artist whose
culture is not closed to the Revelation, can still find a
source of new creation of great richness. Twenty centuries of history of a
faith experienced by slaves and servants have accumulated
inexhaustible treasures offered to those who want to draw from it. In effect,
the history of the Christian people has contributed to the understanding of the
Revelation and manifestation of the beauty of God's work.
The Church, well aware of this complicity twice millennium, receives
enthusiastically offers of artists who want and can express
in pictures and new symbols of the Saviour’s invitation, made to
humans, to grow towards him.
Again, in this chapel, art and faith came together for
our edification.
* * *
***** (Next page)
INTRODUCTION
Monique Jarry’s frescoes covering the walls of the Episcopal chapel, and the
Stained glass made in collaboration with Robert Stanton are the result of extensive research and extensive consultation with relevant persons. The artist has given much thought to the issues raised therein and it was in a constant loving meditation on the work of her Saviour that she drew her inspiration. The true work of art is always the expression of a lifetime. The artist is not a technician who would act apart from his production. She gave herself wholly to her work.
The questions that her research led her to ask did not all find answers. Questions about human destiny, faith, salvation, redemption ... So that this work is a search as well as a statement of the certainty of her faith. Must an artist have found all the answers before creating? About faith, St. Paul said himself that in this world we see as if in a mirror, in a confused manner?''(I Cor 13, 12) This would require the artist to be cut off from the human condition to demand more.
The work presented here forms a single whole in its religious content. This is a journey through the work of God, from creation to the beatific vision. The amazing vocation of the human community, born of matter and Spirit, accompanied by angels, protected by Mary, guided by Jesus, is moving toward eternal bliss.
A work of creation surprise sometimes. This one is a shock. It is disconcerting for some…, however, it hides a mystery that is revealed to who lets him or herself be inhabited by the work itself.
(Page 5)
THE ENTRANCE
THE TWO STAIND GLASS FRAMING THE ENTRY
THE CREATION OF THE WORLD AND THE ALLIANCE BETWEEN GOD AND HUMANITY
From the bottom of the deep surges the Trinitarian act that creates the universe.
Even before creation, God had designed the adventure of the universe. Life coming out of the pristine water has blossomed into thousands of forms up to humanity. The strange mystery of human borne of inanimate matter and inhabited by an immortal soul in a mortal body. While the heart of the rose (of metal) represents the material which we are made, the white petals symbolize the soul, the spirit that made us great. The red flames in the matter, meaning that this Trinitarian God is manifested in the heart of the matter. A more admirable passage: men and women, by the water of baptism, are born to new life in God. The blue flames (blue for Mary and humanity) represent Jesus, Son of God, but through Mary, Man among men. He could have said: ''Before Abraham was, I AM "(Jn 13, 58). Admirable Mystery! Following Jesus, humanity is called to an unexpected greatness: communion with the very life of God.
The two identical windows suggest these hymns of sacred music where the same theme is repeated, answering itself, relays the selves as found, for example, in the cantatas of Bach.
These works depict God, Creator of the world, Present in the world, and Saviour of the world.
(Page 6)
THE RIGHT WALL
STAINED GLASS, MURAL AND WRITINGS
THE ETERNAL CHILD, HIS MOTHER AND THE ANGELS
An astonishing, mysterious scene. A whirlwind of divine coloured fire descends from heaven, bringing a child with a military stand and gestures. Behind him, a band of beings who have a look of something alien. The young commander seems to say: ''In the name of God, follow me! Attack!'' Before him, like a medallion, a woman, gathered, and beside her a mysterious figure who seems to whisper in her ear.
To understand, let us go back to the story of creation. The devil, the father of lies, had sabotaged the work of the Creator. He had introduced into the world revolt against God, pride, disobedience, suffering, death. But God had promised: ''One day the seed of the woman shall crush your head.'' (Gen. 3, 15) This is the day that is represented here.
At the extreme left is the Archangel Gabriel asking Mary if she agrees to become the mother of God. Mary in the inset, accepted, collected and available.
And Jesus appears, accompanied by angels who are fighting the devil. ‘’As a giant, he joyously leaps into his run (Ps 19, 6b). Behold, I come, O God, to do your will (ET 10, 7). Saint Michael, commander of the heavenly legions, has just landed ... There are seven angels, a totality, a group perfection. Their halos, red and gold, identify them to the celestial, to the divine. The Son, in red, is truly divine. The white hair of the characters evokes their wisdom, their spirituality. The dark blue line, reminds us that they are not of earth but of another world, but none the same intervening on earth.
(Page 7)
it is in this way that the Bible describes the human condition and its history. Throughout the Old Testament, but especially in the New Testament and in particular in the Apocalypse, we see the Messiah and the angels come to the aid of humans to help in their fight against Evil.
This scene, that is dominated by gold and red, is celestial all though happening on Earth. All the characters are gathered around Jesus, the Eternal Child, King and Saviour. Wee fined the agitation of the celestial fire everywhere: scene of war to defeat Evil!
The poem, on the right wall, tells us well how the author has lived through this work and the very special sense of her faith, as well as her identification with Christ and the fate of humans. ***** (The poem is found in the pictures of this work.)
Here, the stained glasses make arise the life-giving water, a prayer, as incense towards the Eternal.
(Page 8)
THE LEFT WALL
MURAL AND STAINED GLASS
THE COMMUNION OF SAINTS:
THE CHURCH MILITANT AND TRIUMPHANT
BAPTISM
We can say that the mural covers a subject eminently modern. Indeed, the Communion of Saints is essentially a system of communication and spiritual assistance. It attempts to show human people, living and dead, marching toward God, fighting against the devil to build the Kingdom of Christ. In these days ''of egotism,'' the snake, like the Garden of Eden, offers the worship of self. Jesus tells us: '' Love one another.''
The entire wall is bathed in the divine atmosphere of the four gold and red stripes that represent the four Gospels. The message and the exemplary life of Jesus, the Man-God, are the central events in the story of Salvation.
The fish symbol of Jesus in the early Church, reminds us of the permanence of the faith in Christ the Saviour that characterized the community of believers for more than 2,000 years.
The silhouettes in blue at the bottom of the wall represent all of humanity. Some seem miserable, others are reaching out to the Saints as to get help. The reflections that cover their bodies add to the tragedy of their situation. This is the evocation of the continual struggle between supporters of Evil, constantly spread worldwide hatred, cruelty, violence, injustice, falsehood in all its forms, in a word, evil, and the disciples of Jesus who work to build the Kingdom. Disciples feeling sometimes overwhelmed, helpless as Peter in the boat during the storm. ‘’Lord wake up''.
(Page 9)
How not to doubt and not think that evil will triumph when we look at the current state of humanity! But our faith tells us that the victory of Good is certain.
But there are also among these weak disciples, saints, those inhabited by the power of God. Among our contemporaries, Mother Teresa, Father J. Wresinski who founded Help to the Quarter-World, Jean Vanier, and how many unknowns who are fighting valiantly and victoriously: this is the militant Church.
Then there are those that the artist has chosen to represent the church triumphant. It is not a choice by chance. These saints are very important and significant for our time. On the left is Theresa of the Child Jesus, ''The little Theresa''. She was nicknamed ''the little rose''. She presents to us the cross where the man she loved so much suffered. Two roses on the cross suggest to us that she agreed to be crucified in daily life, for love. A recent Saint, unknown in her lifetime. Speciality: love, that is all. And she has promised to spend her Heaven doing good on earth.
The cross and the ''burning serpents’’ that Moses had nailed to it. Those who had been bitten by a venomous snake cured if they watched the snake nailed to the cross. Obvious announcement of salvation by the cross of Jesus. (The point at the end of an arm of the cross is a sign that Monique always puts in her works)
After the Cross, Francis of Assisi, the poor, who walked the road announcing the love of God and the beauty of the world. The ecologist, not by law but by discovering the beauty of God's work. The brother of all humans and animals, especially the birds that sing the glory of God. We see two birds in front of him.
(Page 10)
Then Catherine of Siena, who died in 1380. At 18, she begins to care for the poor and sick and gathers around her male and female companions. She became counsellor for two Popes although she died at age 33. She worked hard to reform the Church, after the Pope's return from Avignon to Rome, to the pacification of Italy divided into several small kingdoms constantly at war. She had considerable religious influence around her during her lifetime and after her death. She wrote only one book, but Pope Paul VI declared her a Doctor of the universal Church as so Teresa of Avila. Today, women want to play an important and recognized role within the church. Catherine is a model due to her role in the Church and the society of the time.
John of Damascus, or ‘’Damascene’’ to the right of the group, one hand stretched on an icon of John the Baptist, our national patron.
John lived in Jerusalem where he was a bishop. He died in 750. He was a musician, poet (today we would call him a songwriter), orator and writer.
Some Christian fundamentalist spread the idea that God, in the Bible, prohibits representations of the visible and invisible world. (Ex. 20; 4) Some bishops followed them and the Emperor of the East shouldered them with all his power. Jean Damascene undertook to combat these people that were called iconoclasts (icon-breakers). He managed to stop the movement and he formulated the doctrine of pictures. He is the patron of painters and sculptors.
He also fought the emperor because he wanted to govern religion: appoint and remove bishops, prohibit pictures, etc... John formulated the doctrine of separation of church and state.
(Page 11)
At the centre of the mural we see Christ transfigured. The divine colours of red and gold blend. This man-God, perfect servant of the Father, shows the reward that is promised to those who, after him, would have fought the good fight.
Near the Cross, ''the burning bush’’ (Ex 3, 4; Act. 7, 30), where God told Moses to return to Egypt to free his people. Similarly, God sent his Son to free us from evil. This is the evocation of the presence of God the Father of his People.
At the right end of the wall, there is a girl in an environment that obviously is referring to baptism. Water, the dove, the girl: newly baptised ... child of God. Her dress reminds us of traditional Acadian garbs. Home of the artist.
This wall carries a message of assistance and action. God's action, the action of the faithful, the action of the saints, all united to build the Kingdom. The saints are proposed as models. These real life examples, can do much for the Christian education of youth, says the author.
(Page 12)
THE CORE
THE SKY
On entering the enclosure of the altar, we find ourselves at the heart of the mystery. The artist wanted to express the inexpressible: the beatific vision at the terms of human life and the impossibility of reaching it by our own means. God has consented to reveal himself to us in the glare of his transcendence, but ''it's’’ like through a mirror, in a confused manner that we perceive it (I Cor 13, 12).
But how to illustrate what's behind the mirror? What shape, what colour to choose? The core is uncluttered compared to the walls on the left and the right, and addresses itself to our inability to imagine the Beyond. On imprecise block forms - allusions to the difficulty of entering into the mystery, to understand the depth - the artist moves from the white, sign of the inability to grasp this mystery, to shaded colours (blue and pink ) symbolising the doubts that assail humans, adding a touch of brown for the condition of sinners (the stained glass). But at the same time, there is light: the yellow blocks and then the skylight evoking the beatific vision which is promised us.
Since the beginning of time, humans want to know, understand and master the mysteries of nature without ever truly succeeding. But still more, it is the mysteries of the Invisible they would like to possess. Impossible! Only faith that is ''the certitude of the Invisible’’ (HE 2, 1), says St. Paul, supports our confidence in these realities, without which we can never see them. Without that trust, humans imagine and invent a thousand religions and beliefs to dominate and enslave the Invisible. Here below, the only way to see God is in others. ''Anything you do to the least of my brethren’’ (Mt 25, 40). This word of Jesus is transparent, at the top of the left wall.
(Page 13)
Yet, Heaven shall be given to us freely by pure mercy without having won such an incredible gift. ''Just say a word ... and I am healed'' (Mt 5, 8), inscribed to the right of the tabernacle. Without this word, no one can achieve it. Everything is grace! Everything is a gift! Everything is a mystery! The three olive branches on both sides of the stained glass, are symbols of the Trinity and Salvation.
Like Moses on Mount Horeb, like the apostles on Mount Tabor, the sanctuary is a sacred place, a place of encounter with God. This place seems terrible because it is unknown. Nature is absorbed, subsumed by the Invisible who assumes it. Before the All Other, we can only worship, collect ourselves, beg, convert ourselves, offer ourselves. This is what the central stained glass window expresses. Beyond the mirror, beyond the confused perceptions of this world, a dazzling light is awaiting us. It has been promised by the meeting of Christ Light of the Transfiguration, Christ Risen!
STAINED GLASS OF THE CORE:
This stained glass excellently summarizes our current fate and future. Humility and greatness. To pray, to convert ourselves. In heaven, we will vale our faces from the glare of the Beatific Vision, as the person represented in this stained glass.
Her outstretched hands is a gesture of supplication to the Divine Sun of Love (both red circles) asking Him to shed His light on us, warms us and gives our hands the power to spread Love for the glory of God and the Salvation of the world. And for this, that our love may have hands. ***** (This stained glass is a reproduction of one of Monique’s charcoal works: Ref.: See nos.: 1977-040 to 080.).
DISPATCH
Monique Jarry gave herself here a huge and very difficult project: to express her faith and formulate the mystery of human destiny. She had also dreamed of a considerable artistic creation. She has devoted all her talent, her whole heart, all her might. She said:''The artist participates to the creation at the height of his humble means, he accompanies God and God accompanies him''.
Let us welcome this work and its author with confidence and openness. Artistic work is a call for contemplation for who lets himself be invested by it. The work then becomes catechism, prayer, religious inquiry. ''A garden of prayer’’, as suggested by the artist.
A chapel is a place of silence and meditation. This work invites us to a struggle, to fight, to the work of building the Kingdom. Is that not convenient for our times? The invitation is made to enter this ‘’garden of prayer’’ to prepare ourselves to be militant and engaged.
MAY GOD HELP US!
Gerard Lemay
Text written after extensive conversations with the artist Monique Jarry
December 11, 1995
***** (Next page)
SYMBOLS and EVOCATIONS
1. THE COLOURS:
A - WHITE: soul
wisdom, intelligence (like the hair of the angels)
mind, spirituality,
impotence (as in the core, humans powerless to
reach God).
B - BLUE: humanity,
the created world, the world mixed with the mater,
humanity of Jesus,
Mary, who gave her humanity to Christ.
C - VERY DARK BLUE:
in the mural of angels, which separates what is from heaven and what
is from the Earth.
D - THE RED: divinity, all that is divine. (The tongues of fire)
E - THE YELLOW: the supernatural, the divine also, the heavenly.
F - THE BROWN: penance.
The colours red and yellow dominate of course here.
2. WATER: life, the beginning of life, baptism.
3. FISH: Jesus, in Greek, means fish and contains the letters.
I for Jesus for Jesus
C for kristos for Christ
T for teos for God
U for uios for son
S for soter for saviour
4. THE BURNING BUSH:
The Father has decided to end the suffering of his people.
5. THE SERPENT BURNING ON THE CROSS:
He who looks at the snake will not die. As the one who
look at Jesus on the cross will not die.
6. THE ROSES: St. Therese.
7. THE DOVE ON THE HEAD OF THE YOUNG GIRL
The Holy Spirit in baptism.
8. THE BRANCHES IN THE CORE: The Trinity with red leaves (divinity).
9. THE GOLD: grace. (On the columns.)
10. THE SUN: God.
***** (Ref. Bio. Page: 2681: File ''The Episcopal chapel of the Bishop.'')
***** (To complete this index card, here is the poem composed by Monique and that is displayed on the wall of the chapel:
LORD, HERE'S OUR GARDEN OF PRAYER
I have often chosen to paint
To disguise my thoughts
For my voice could reveal you
And my people were angry against you.
I thought that his heart would be calmed
As it goes so often with emotions;
Brisk mute outbreak, rebellious and short,
For my people often do not know how to explain themselves.
The years have passed
From metaphor and counterpoint
In esotericism and counterfeit-ways
I lost the key to my own symbols.
A long path of isolation grew heavier upon me;
I walked smiling for the children
Like my ancestors had taught me.
Then our children grew up.
Their silence was no longer one of helplessness
But of cold anger.
Any reference to your Name kindled hatred.
Our people had fine hearing:
A silence, a discretion, at the right time
And anathema was spat in my face.
I had not painted for a long time.
I still wore the national dress, chin up
I knew that my unfailing enthusiasm was crumbling at the heart of my being.
But instead of understanding, I began to suffer;
Under the onslaught of my friends, I felt that it was not the artist that was targeted any more.
My originality served as a guarantee...
I smiled more, but in silence now.
Under the proud forehead of my ancestors
Concern had come to define me.
Like a sleepwalker, I began to walk.
Insidiously, anxiety had numbed my mind.
Your Name was leaving me at the same pace as my own
Until the day that I realized that I could not even see my hands.
I did not want to die;
I regretted being.
The bitterness of my people
Was the colour of the days and I did not notice it anymore.
I had lost my language
Without having realised it.
But then yours came back:
''Father, why hast thou forsaken me?''
With this gesture of distress openly stated
A new smile was born on my face
A sad and trembling smile, but sincere.
For days and days, I repeated your words.
From the bottom of my retreat
Where I had taken refuge
Since the time
Where I had found myself in pieces, disjointed.
A sad smile of complicity,
But a sadness with a human face,
Who was comforting me.
When I saw that I was in the desert, I began to scream.
''Lord, push aside this chalice from me!''
''Lord, push aside this chalice from me!''
From the depth of my sadness, a small incomprehensible joy
Was inhabiting me gently; because I had cried out to God.
I never thought that a simple person like me
Could cry out to God
In an outburst of no return.
May I never forget this day!
Aloud, I repeated constantly and every day your words.
The image came back, I saw colours.
An extraordinary purple and an old olive tree.
''God, push aside this chalice from me''... and gradually it was smiling from the inside ... If you want ...
But your will would be better
Because mine does not look like anything anymore.
After remaining in your womb
With these only words
For a while ... that I was not anxious to interrupt
I understood what the desert was and I loved it.
When I came into the world
It was you who healed my brushes,
Our symbolic had become my language
And I saw more devastation outside that in the desert.
There is much to paint
For whom that speaks his own image
And does not let himself be deconstructed
By camouflaging in them.
Without any merit
I am limpid in my joy and my weaknesses
Because I live of your heart
That beats instead of mine.
December 20, 1988 Monique Jarry)
1995-005A: Two stained glasses that frame the door.
----------------------------------------
No.: 1995 - 005 (Photos of the stain glass: A and B)
(Photos of the right wall: C to M)
(Photos of the left wall: N to Z1 plus and Z2, Z3)
(Photos of the choir: Z4 to Z10)
Title: ''The Garden of Prayer.''
Size: The left and right walls and the core are painted. The entrance wall is stained glass.
Materials: Murals: Oil, ink, silk paper, gold leaf, varnish.
Glass: stained glass, tin, copper.
Category: --
Note: No
Comments and / or explanation:
***** (At the request of Bishop Valois (Contrary to what is reported in newspaper clippings, the Bishop asked Monique, during a meeting between her and him to follow his from his office and led her to his chapel, then he asked her if she would agree to execute murals and review the whole of the decoration.) Monique painted murals on the walls of the chapel. One of the walls (the entrance to the chapel) is a stained glass work of her creation. The work began in 1988 and officially ended December 12, 1995 at an opening. Monique painted the chapel in her ''free time’’, finding here and there a few hours almost every week to advance the Work. She also made a lot of research, studies, consultations, meditations and prayers throughout this journey''.''
***** (The following is the text that was read at the opening, I transcribed it in its entirety because it contains all the religious references of the work and identifies the characters and symbolism that relates to everything. Note: Each picture will be treated individually.)
December 1995
PRESENTATION
THE PICTORIAL WORK AND THE STAINED GLASS
COVERING THE WALLS OF THE CHAPEL
ARE NOT A DECORATION NOR AN ORNAMENTS
THE ARTIST MONIQUE JARRY THAT CREATED THEM
WANTED TO HONOR
GOD THREE TIMES HOLY THAT SHE LOVES AND ADORS,
AND TO HIS SON JESUS AND THE VIRGIN MARY, HIS MOTHER.
THIS WORK IS A TEACHING AND IT FORMS A WHOLE.
IT CELEBRATES THE WORK OF GOD MERCIFUL CREATOR,
FATHER, SAVIOR AND LIGHT OF THE WORLD.
IT ATTEMPS TO ILLUSTRATE THE MAGNITUDE OF THE MYSTERY AND OF ITS CREATURES AND THE INDISCRIBABLE MARVEL OF THERE SALVATION.
THE ARTIS WANTED TO DO THE WORK AS A GESTUR OF
RECOGNITION AND AFFECTION TOWARDS THE CHURCH OF THE DIOCESE, THE BISHOP, MGR. CHARLES VALOIS,
AND ALL THE FAITHFUL BAPTIZED.
PRAISE AND GLORY TO GOD ETERNAL,
FOR ALL CENTURYS.
AMEN.
***** (Next page)
Throughout history, faith and art almost always worked in perfect
harmony to convey to the Christian people the richness and beauty of the
message of faith. Some may believe and say that the Christian religion
is no longer a source of inspiration sought by current artists.
Wee have here before us the clear evidence that an artist whose
culture is not closed to the Revelation, can still find a
source of new creation of great richness. Twenty centuries of history of a
faith experienced by slaves and servants have accumulated
inexhaustible treasures offered to those who want to draw from it. In effect,
the history of the Christian people has contributed to the understanding of the
Revelation and manifestation of the beauty of God's work.
The Church, well aware of this complicity twice millennium, receives
enthusiastically offers of artists who want and can express
in pictures and new symbols of the Saviour’s invitation, made to
humans, to grow towards him.
Again, in this chapel, art and faith came together for
our edification.
* * *
***** (Next page)
INTRODUCTION
Monique Jarry’s frescoes covering the walls of the Episcopal chapel, and the
Stained glass made in collaboration with Robert Stanton are the result of extensive research and extensive consultation with relevant persons. The artist has given much thought to the issues raised therein and it was in a constant loving meditation on the work of her Saviour that she drew her inspiration. The true work of art is always the expression of a lifetime. The artist is not a technician who would act apart from his production. She gave herself wholly to her work.
The questions that her research led her to ask did not all find answers. Questions about human destiny, faith, salvation, redemption ... So that this work is a search as well as a statement of the certainty of her faith. Must an artist have found all the answers before creating? About faith, St. Paul said himself that in this world we see as if in a mirror, in a confused manner?''(I Cor 13, 12) This would require the artist to be cut off from the human condition to demand more.
The work presented here forms a single whole in its religious content. This is a journey through the work of God, from creation to the beatific vision. The amazing vocation of the human community, born of matter and Spirit, accompanied by angels, protected by Mary, guided by Jesus, is moving toward eternal bliss.
A work of creation surprise sometimes. This one is a shock. It is disconcerting for some…, however, it hides a mystery that is revealed to who lets him or herself be inhabited by the work itself.
(Page 5)
THE ENTRANCE
THE TWO STAIND GLASS FRAMING THE ENTRY
THE CREATION OF THE WORLD AND THE ALLIANCE BETWEEN GOD AND HUMANITY
From the bottom of the deep surges the Trinitarian act that creates the universe.
Even before creation, God had designed the adventure of the universe. Life coming out of the pristine water has blossomed into thousands of forms up to humanity. The strange mystery of human borne of inanimate matter and inhabited by an immortal soul in a mortal body. While the heart of the rose (of metal) represents the material which we are made, the white petals symbolize the soul, the spirit that made us great. The red flames in the matter, meaning that this Trinitarian God is manifested in the heart of the matter. A more admirable passage: men and women, by the water of baptism, are born to new life in God. The blue flames (blue for Mary and humanity) represent Jesus, Son of God, but through Mary, Man among men. He could have said: ''Before Abraham was, I AM "(Jn 13, 58). Admirable Mystery! Following Jesus, humanity is called to an unexpected greatness: communion with the very life of God.
The two identical windows suggest these hymns of sacred music where the same theme is repeated, answering itself, relays the selves as found, for example, in the cantatas of Bach.
These works depict God, Creator of the world, Present in the world, and Saviour of the world.
(Page 6)
THE RIGHT WALL
STAINED GLASS, MURAL AND WRITINGS
THE ETERNAL CHILD, HIS MOTHER AND THE ANGELS
An astonishing, mysterious scene. A whirlwind of divine coloured fire descends from heaven, bringing a child with a military stand and gestures. Behind him, a band of beings who have a look of something alien. The young commander seems to say: ''In the name of God, follow me! Attack!'' Before him, like a medallion, a woman, gathered, and beside her a mysterious figure who seems to whisper in her ear.
To understand, let us go back to the story of creation. The devil, the father of lies, had sabotaged the work of the Creator. He had introduced into the world revolt against God, pride, disobedience, suffering, death. But God had promised: ''One day the seed of the woman shall crush your head.'' (Gen. 3, 15) This is the day that is represented here.
At the extreme left is the Archangel Gabriel asking Mary if she agrees to become the mother of God. Mary in the inset, accepted, collected and available.
And Jesus appears, accompanied by angels who are fighting the devil. ‘’As a giant, he joyously leaps into his run (Ps 19, 6b). Behold, I come, O God, to do your will (ET 10, 7). Saint Michael, commander of the heavenly legions, has just landed ... There are seven angels, a totality, a group perfection. Their halos, red and gold, identify them to the celestial, to the divine. The Son, in red, is truly divine. The white hair of the characters evokes their wisdom, their spirituality. The dark blue line, reminds us that they are not of earth but of another world, but none the same intervening on earth.
(Page 7)
it is in this way that the Bible describes the human condition and its history. Throughout the Old Testament, but especially in the New Testament and in particular in the Apocalypse, we see the Messiah and the angels come to the aid of humans to help in their fight against Evil.
This scene, that is dominated by gold and red, is celestial all though happening on Earth. All the characters are gathered around Jesus, the Eternal Child, King and Saviour. Wee fined the agitation of the celestial fire everywhere: scene of war to defeat Evil!
The poem, on the right wall, tells us well how the author has lived through this work and the very special sense of her faith, as well as her identification with Christ and the fate of humans. ***** (The poem is found in the pictures of this work.)
Here, the stained glasses make arise the life-giving water, a prayer, as incense towards the Eternal.
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THE LEFT WALL
MURAL AND STAINED GLASS
THE COMMUNION OF SAINTS:
THE CHURCH MILITANT AND TRIUMPHANT
BAPTISM
We can say that the mural covers a subject eminently modern. Indeed, the Communion of Saints is essentially a system of communication and spiritual assistance. It attempts to show human people, living and dead, marching toward God, fighting against the devil to build the Kingdom of Christ. In these days ''of egotism,'' the snake, like the Garden of Eden, offers the worship of self. Jesus tells us: '' Love one another.''
The entire wall is bathed in the divine atmosphere of the four gold and red stripes that represent the four Gospels. The message and the exemplary life of Jesus, the Man-God, are the central events in the story of Salvation.
The fish symbol of Jesus in the early Church, reminds us of the permanence of the faith in Christ the Saviour that characterized the community of believers for more than 2,000 years.
The silhouettes in blue at the bottom of the wall represent all of humanity. Some seem miserable, others are reaching out to the Saints as to get help. The reflections that cover their bodies add to the tragedy of their situation. This is the evocation of the continual struggle between supporters of Evil, constantly spread worldwide hatred, cruelty, violence, injustice, falsehood in all its forms, in a word, evil, and the disciples of Jesus who work to build the Kingdom. Disciples feeling sometimes overwhelmed, helpless as Peter in the boat during the storm. ‘’Lord wake up''.
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How not to doubt and not think that evil will triumph when we look at the current state of humanity! But our faith tells us that the victory of Good is certain.
But there are also among these weak disciples, saints, those inhabited by the power of God. Among our contemporaries, Mother Teresa, Father J. Wresinski who founded Help to the Quarter-World, Jean Vanier, and how many unknowns who are fighting valiantly and victoriously: this is the militant Church.
Then there are those that the artist has chosen to represent the church triumphant. It is not a choice by chance. These saints are very important and significant for our time. On the left is Theresa of the Child Jesus, ''The little Theresa''. She was nicknamed ''the little rose''. She presents to us the cross where the man she loved so much suffered. Two roses on the cross suggest to us that she agreed to be crucified in daily life, for love. A recent Saint, unknown in her lifetime. Speciality: love, that is all. And she has promised to spend her Heaven doing good on earth.
The cross and the ''burning serpents’’ that Moses had nailed to it. Those who had been bitten by a venomous snake cured if they watched the snake nailed to the cross. Obvious announcement of salvation by the cross of Jesus. (The point at the end of an arm of the cross is a sign that Monique always puts in her works)
After the Cross, Francis of Assisi, the poor, who walked the road announcing the love of God and the beauty of the world. The ecologist, not by law but by discovering the beauty of God's work. The brother of all humans and animals, especially the birds that sing the glory of God. We see two birds in front of him.
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Then Catherine of Siena, who died in 1380. At 18, she begins to care for the poor and sick and gathers around her male and female companions. She became counsellor for two Popes although she died at age 33. She worked hard to reform the Church, after the Pope's return from Avignon to Rome, to the pacification of Italy divided into several small kingdoms constantly at war. She had considerable religious influence around her during her lifetime and after her death. She wrote only one book, but Pope Paul VI declared her a Doctor of the universal Church as so Teresa of Avila. Today, women want to play an important and recognized role within the church. Catherine is a model due to her role in the Church and the society of the time.
John of Damascus, or ‘’Damascene’’ to the right of the group, one hand stretched on an icon of John the Baptist, our national patron.
John lived in Jerusalem where he was a bishop. He died in 750. He was a musician, poet (today we would call him a songwriter), orator and writer.
Some Christian fundamentalist spread the idea that God, in the Bible, prohibits representations of the visible and invisible world. (Ex. 20; 4) Some bishops followed them and the Emperor of the East shouldered them with all his power. Jean Damascene undertook to combat these people that were called iconoclasts (icon-breakers). He managed to stop the movement and he formulated the doctrine of pictures. He is the patron of painters and sculptors.
He also fought the emperor because he wanted to govern religion: appoint and remove bishops, prohibit pictures, etc... John formulated the doctrine of separation of church and state.
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At the centre of the mural we see Christ transfigured. The divine colours of red and gold blend. This man-God, perfect servant of the Father, shows the reward that is promised to those who, after him, would have fought the good fight.
Near the Cross, ''the burning bush’’ (Ex 3, 4; Act. 7, 30), where God told Moses to return to Egypt to free his people. Similarly, God sent his Son to free us from evil. This is the evocation of the presence of God the Father of his People.
At the right end of the wall, there is a girl in an environment that obviously is referring to baptism. Water, the dove, the girl: newly baptised ... child of God. Her dress reminds us of traditional Acadian garbs. Home of the artist.
This wall carries a message of assistance and action. God's action, the action of the faithful, the action of the saints, all united to build the Kingdom. The saints are proposed as models. These real life examples, can do much for the Christian education of youth, says the author.
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THE CORE
THE SKY
On entering the enclosure of the altar, we find ourselves at the heart of the mystery. The artist wanted to express the inexpressible: the beatific vision at the terms of human life and the impossibility of reaching it by our own means. God has consented to reveal himself to us in the glare of his transcendence, but ''it's’’ like through a mirror, in a confused manner that we perceive it (I Cor 13, 12).
But how to illustrate what's behind the mirror? What shape, what colour to choose? The core is uncluttered compared to the walls on the left and the right, and addresses itself to our inability to imagine the Beyond. On imprecise block forms - allusions to the difficulty of entering into the mystery, to understand the depth - the artist moves from the white, sign of the inability to grasp this mystery, to shaded colours (blue and pink ) symbolising the doubts that assail humans, adding a touch of brown for the condition of sinners (the stained glass). But at the same time, there is light: the yellow blocks and then the skylight evoking the beatific vision which is promised us.
Since the beginning of time, humans want to know, understand and master the mysteries of nature without ever truly succeeding. But still more, it is the mysteries of the Invisible they would like to possess. Impossible! Only faith that is ''the certitude of the Invisible’’ (HE 2, 1), says St. Paul, supports our confidence in these realities, without which we can never see them. Without that trust, humans imagine and invent a thousand religions and beliefs to dominate and enslave the Invisible. Here below, the only way to see God is in others. ''Anything you do to the least of my brethren’’ (Mt 25, 40). This word of Jesus is transparent, at the top of the left wall.
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Yet, Heaven shall be given to us freely by pure mercy without having won such an incredible gift. ''Just say a word ... and I am healed'' (Mt 5, 8), inscribed to the right of the tabernacle. Without this word, no one can achieve it. Everything is grace! Everything is a gift! Everything is a mystery! The three olive branches on both sides of the stained glass, are symbols of the Trinity and Salvation.
Like Moses on Mount Horeb, like the apostles on Mount Tabor, the sanctuary is a sacred place, a place of encounter with God. This place seems terrible because it is unknown. Nature is absorbed, subsumed by the Invisible who assumes it. Before the All Other, we can only worship, collect ourselves, beg, convert ourselves, offer ourselves. This is what the central stained glass window expresses. Beyond the mirror, beyond the confused perceptions of this world, a dazzling light is awaiting us. It has been promised by the meeting of Christ Light of the Transfiguration, Christ Risen!
STAINED GLASS OF THE CORE:
This stained glass excellently summarizes our current fate and future. Humility and greatness. To pray, to convert ourselves. In heaven, we will vale our faces from the glare of the Beatific Vision, as the person represented in this stained glass.
Her outstretched hands is a gesture of supplication to the Divine Sun of Love (both red circles) asking Him to shed His light on us, warms us and gives our hands the power to spread Love for the glory of God and the Salvation of the world. And for this, that our love may have hands. ***** (This stained glass is a reproduction of one of Monique’s charcoal works: Ref.: See nos.: 1977-040 to 080.).
DISPATCH
Monique Jarry gave herself here a huge and very difficult project: to express her faith and formulate the mystery of human destiny. She had also dreamed of a considerable artistic creation. She has devoted all her talent, her whole heart, all her might. She said:''The artist participates to the creation at the height of his humble means, he accompanies God and God accompanies him''.
Let us welcome this work and its author with confidence and openness. Artistic work is a call for contemplation for who lets himself be invested by it. The work then becomes catechism, prayer, religious inquiry. ''A garden of prayer’’, as suggested by the artist.
A chapel is a place of silence and meditation. This work invites us to a struggle, to fight, to the work of building the Kingdom. Is that not convenient for our times? The invitation is made to enter this ‘’garden of prayer’’ to prepare ourselves to be militant and engaged.
MAY GOD HELP US!
Gerard Lemay
Text written after extensive conversations with the artist Monique Jarry
December 11, 1995
***** (Next page)
SYMBOLS and EVOCATIONS
1. THE COLOURS:
A - WHITE: soul
wisdom, intelligence (like the hair of the angels)
mind, spirituality,
impotence (as in the core, humans powerless to
reach God).
B - BLUE: humanity,
the created world, the world mixed with the mater,
humanity of Jesus,
Mary, who gave her humanity to Christ.
C - VERY DARK BLUE:
in the mural of angels, which separates what is from heaven and what
is from the Earth.
D - THE RED: divinity, all that is divine. (The tongues of fire)
E - THE YELLOW: the supernatural, the divine also, the heavenly.
F - THE BROWN: penance.
The colours red and yellow dominate of course here.
2. WATER: life, the beginning of life, baptism.
3. FISH: Jesus, in Greek, means fish and contains the letters.
I for Jesus for Jesus
C for kristos for Christ
T for teos for God
U for uios for son
S for soter for saviour
4. THE BURNING BUSH:
The Father has decided to end the suffering of his people.
5. THE SERPENT BURNING ON THE CROSS:
He who looks at the snake will not die. As the one who
look at Jesus on the cross will not die.
6. THE ROSES: St. Therese.
7. THE DOVE ON THE HEAD OF THE YOUNG GIRL
The Holy Spirit in baptism.
8. THE BRANCHES IN THE CORE: The Trinity with red leaves (divinity).
9. THE GOLD: grace. (On the columns.)
10. THE SUN: God.
***** (Ref. Bio. Page: 2681: File ''The Episcopal chapel of the Bishop.'')
***** (To complete this index card, here is the poem composed by Monique and that is displayed on the wall of the chapel:
LORD, HERE'S OUR GARDEN OF PRAYER
I have often chosen to paint
To disguise my thoughts
For my voice could reveal you
And my people were angry against you.
I thought that his heart would be calmed
As it goes so often with emotions;
Brisk mute outbreak, rebellious and short,
For my people often do not know how to explain themselves.
The years have passed
From metaphor and counterpoint
In esotericism and counterfeit-ways
I lost the key to my own symbols.
A long path of isolation grew heavier upon me;
I walked smiling for the children
Like my ancestors had taught me.
Then our children grew up.
Their silence was no longer one of helplessness
But of cold anger.
Any reference to your Name kindled hatred.
Our people had fine hearing:
A silence, a discretion, at the right time
And anathema was spat in my face.
I had not painted for a long time.
I still wore the national dress, chin up
I knew that my unfailing enthusiasm was crumbling at the heart of my being.
But instead of understanding, I began to suffer;
Under the onslaught of my friends, I felt that it was not the artist that was targeted any more.
My originality served as a guarantee...
I smiled more, but in silence now.
Under the proud forehead of my ancestors
Concern had come to define me.
Like a sleepwalker, I began to walk.
Insidiously, anxiety had numbed my mind.
Your Name was leaving me at the same pace as my own
Until the day that I realized that I could not even see my hands.
I did not want to die;
I regretted being.
The bitterness of my people
Was the colour of the days and I did not notice it anymore.
I had lost my language
Without having realised it.
But then yours came back:
''Father, why hast thou forsaken me?''
With this gesture of distress openly stated
A new smile was born on my face
A sad and trembling smile, but sincere.
For days and days, I repeated your words.
From the bottom of my retreat
Where I had taken refuge
Since the time
Where I had found myself in pieces, disjointed.
A sad smile of complicity,
But a sadness with a human face,
Who was comforting me.
When I saw that I was in the desert, I began to scream.
''Lord, push aside this chalice from me!''
''Lord, push aside this chalice from me!''
From the depth of my sadness, a small incomprehensible joy
Was inhabiting me gently; because I had cried out to God.
I never thought that a simple person like me
Could cry out to God
In an outburst of no return.
May I never forget this day!
Aloud, I repeated constantly and every day your words.
The image came back, I saw colours.
An extraordinary purple and an old olive tree.
''God, push aside this chalice from me''... and gradually it was smiling from the inside ... If you want ...
But your will would be better
Because mine does not look like anything anymore.
After remaining in your womb
With these only words
For a while ... that I was not anxious to interrupt
I understood what the desert was and I loved it.
When I came into the world
It was you who healed my brushes,
Our symbolic had become my language
And I saw more devastation outside that in the desert.
There is much to paint
For whom that speaks his own image
And does not let himself be deconstructed
By camouflaging in them.
Without any merit
I am limpid in my joy and my weaknesses
Because I live of your heart
That beats instead of mine.
December 20, 1988 Monique Jarry)
1995-005A: Two stained glasses that frame the door.
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