Figures

Bearing in mind the language of the golden ages of Christian liturgical art (the pre-Romanesque, the Romanesque and the early-Byzantine period), the Atelier is trying to achieve the greatest simplicity in its figurative works. The principle on which ancient art was founded – with its aesthetic qualities and perfection – was theology, as well as the mysteries of faith actualized in the liturgy. An artistic representation and composition were not regarded as beautiful, unless they revealed and communicated the mysteries of faith.
That is the reason why, when planning to design something, we should go for the essentials, and respect its real image, the real image man can see in his everyday life. Otherwise the details and formal decorations would distract the viewer’s attention.
On the contrary, focussing the viewer’s attention on the essentials is conducive to a better understanding of the contents of the image, which are thus not only passed on, but also made more explicitly present. This is the first and foremost goal and scope of liturgical art, which is not a narrative art, but rather an art that must be at the service of the presence of the Mystery.
This outlook is based on the fact that Christianity affirms reality and the world because of its very high consideration for human history and life, which were taken upon Himself by the Word when He was made man.
In addition to that, liturgical art presents the world as basically transfigured, freeing the image from all that could distract the attention of those taking part in the divine mysteries, and from all that is not directly related to the message which it is meant to communicate. This highlights the pre-eminence of spiritual and theological communication, and creates the conditions for the faithful to take part in the liturgy more fully, given that simplicity allows gestures and figures to communicate their message forcefully and powerfully, while essentiality helps concentration, thus becoming a sort of pedagogy towards the comprehension of the mysteries.
Gestures become pure, essential, and what they are meant to express is brought to the fore. Thus, liturgical art is able to purify the senses of the viewer, to make his feelings sober, and to purify his mind, because it takes into account the spiritual intelligence based on dogma. And it teaches the viewer to think according to the divine way of thinking.
The images must express reality as it is seen by God. Revelation, the Tradition of the Church and her memory, are the ambits where the simplicity and essentiality of the figures employed in liturgical art come to life. The images, the figures are but a communication of the contents of faith. They preach doctrine and dogma, they reveal theology.

Backgrounds

Decorative spaces, that is, the spaces in between images or backgrounds, have no definite meaning. Their task is more subtle: to prepare the viewer’s heart, so that it may be ready to welcome the ‘words’ addressed to him by the images.
Man’s eyes never tire of looking; they are constantly looking for something, and there is always something that attracts their attention. Non-figurative spaces have the task to keep the eyes busy, to attract their attention. And while someone lets his eyes linger on those spaces, those spaces create in him a good mood; and this inner disposition makes him capable of understanding and welcoming the message.
The flow of matter, light, colours, sun, precious stones, all is helpful to create a mood, an inner disposition; it is something pleasant and appealing to the eye. When these decorative spaces are truly harmonious, and the different elements blend well one with the other, they can affect man as if they were alive: when different things are unified, they invariably come to express a living reality. Concord and harmony are a manifestation of love, given that only love can bring about communion among different things or people.
This is extremely important nowadays, when the Church is perhaps too influenced by rationalism. We preach, teach, give talks; but we do not care whether people are willing to accept them or not. More often than not, those talks are useless; and they may give rise to bitter arguments, rebellion, opposition, or to an emotional response which will make people agree on everything, easily and promptly, but also disagree, immediately afterwards.
To explain how important those empty spaces are, let us just take the crucifixion. That tragic event will be meaningless, unless we have the right inner disposition. Then we should let our eyes linger here and there for some time, so that the right disposition may be formed within us. We should not interpret everything with the power of reason. We should not tell our mind what we would like to see. On the contrary, we should let things speak for themselves first; then we will be able to read them accurately. Thus the abstract backgrounds of the mosaics provide an environment conducive to listening: and the viewer will be ready to understand and accept the message coming from the figures.
Let us learn from Christ to create a similar environment! When He had to speak to His disciples, He went onto the mountain, or got into Simon’s boat and asked him to put out a little from the shore, so that He could teach the crowds from the boat.
Therefore the environment, or, as far as mosaics are concerned, backgrounds and non-figurative spaces, are useful to comprehend not only what the images relate, but also the words we are saying and the gestures we are making when we take part in the liturgy, as well as liturgy itself.