Born and raised Protestant in southern Kansas, I have long questioned the rationale for religious dogma and ritual. My personal “inquisition” conceived and gestated a desire to paint The Seven Deadly Sins. Research quickly revealed the existence of a set of corresponding Seven Heavenly Virtues, each paired with its own specific Sin. In deciding to include both the Sins and Virtues in this body of work, I present a more balanced and complete portrait of western morality and human dichotomy.

​

Today’s version of the Seven Deadly Sins was invented by Pope Gregory I in the 6th Century, each Sin complete with its own hideously unique punishment upon conviction. The history of The Seven Heavenly Virtues is more vague. I came to understand that too much of either Sin or Virtue is predictably unhinging, and that a little Sin has its merits. These religious aspirations and taboos seem as fascinating and relevant today as they did centuries ago.

​

The language of flowers reached its apex in Europe in the 1700s. While researching this legendary language I began to connect historical meanings of specific flowers directly with the qualities describing each Sin and Virtue. It seemed a natural fit to use flowers as symbols in this series.

​

As an illuminator, I envisioned these works as jewel-like, thus my decision to use 23 carat raised gold as embellishment. Gilding lifted them from paintings to illuminations, after the medieval icons and manuscripts I so admire. This work is also my homage to the spellbinding “Mira Calligraphiae Monumenta”, a hand made book created between 1560 and 1590 by one scribe and one illuminator.

​

The melding of these concepts happened organically. As the ideas took shape, I began making lists of descriptions, characteristics, flowers, images, animals and objects for each Sin and Virtue. Using the lists as springboards, I started sketching and developed the series as a whole in passes. The first pass involved adapting the sketches to line drawings, which I transferred onto 400# Fabriano hot press paper.  Next, I gilded all 14 pieces with 23 carat raised gold. Using a handheld magnifying glass, I carefully painted the main elements in each piece, then followed with the smaller elements, backgrounds, shading, tooling, detail and polishing.

​

Committed to a looming exhibition deadline, the process was consuming in every way and stretched me as an artist. I conclude that the seduction of the dark side and struggle for the light create a tension that supports and guides our evolving consciousness. I discovered the innocence in Sin, the guilt in Virtue and the beauty and humanity in both. It is empowering to me, professionally and personally, to have accomplished a long held goal in the presentation of this series.