Friday, January 1, 2021

Old Stuff, New Stuff

"Venite" Edward Riojas. 2020. Oil on panel. (Zion Lutheran Church, Wausau, Wisconsin)

Copyright © Edward Riojas

I promised myself that I would neither mention by name the previous year, nor the thing that seemed to distinguish it. I just isn’t worth the time.

It is, however, worth the time to a name a few things that distinguished a productive year for me in spite of “things,” as well as look at a few projects coming in the new year. In spite of my laziness and everything else that hindered, here are a few artistic highlights of this past year:

“The Venite”
A series of four panels, based on the Venite, were completed and delivered to Zion Lutheran Church in Wausau, Wisconsin. The piece makes use of flora and fauna of the Wausau area, and acts as a set of windows for the chapel. Incidentally, another piece of mine, the "Zion Altarpiece," resides in the same chapel.

"The Hymn Writer." Edward Riojas.
2020. Oil on panel.
(Collection of Rev. Stephen Starke)

“The Hymn Writer

Although I had to keep this piece under wraps for much of the year, the commissioned piece was finally unveiled on the occasion of Rev. Stephen Starke’s retirement. (Hint: This may very well be made available as a print during the coming year.)

“Ode to the Age of Innocence”
This large, non-sacred piece was intended for ArtPrize. Along with an endless list of other events, the art competition was cancelled. Still, I was able to indulge in yet another large “troll” painting, thereby increasing the visual clutter of my studio spaces.

I made the time to create a distinctly-Lutheran processional crucifix [which still needs a good home], and also executed [pardon the pun] a commissioned altar crucifix. Both were done when the weather allowed me to work in my unheated woodshop.

“The Hardening of Israel’s Heart & The Hardening of Heart in the Church”
Technically, the cover art of this book – my sole contribution – was created in 2019, but I’ve thrown this in because the work, put together by Rev. Michael Holmen, was released this past year.

“The Ethereal Land of Heavenward Stairs”
This book, my third collaborative project with Rev. Tyrel Bramwell, takes a Seussian slant on more serious subject matter. The illustrated book was a nice stylistic change from my other work.

"Ode to the Age of Innocence."
Edward Riojas. 2020.
(collection of the artist)

“The Wolf and The Lamb”
This may be a bit premature, but the bulk of illustrative work has been completed on a yet-to-be-released book by Rev. William Weedon. I jumped style again and resorted to one of my older tricks – pen-and-ink stippling – for the children's book illustrations. Keep your eye on the horizon for this.

Ecclesiastical Sewing
I worked on various projects for the stellar – yes, I said stellar – vestment/parament company, Ecclesiastical Sewing, during the year. It’s always nice to bring my “A” game to their table. Some projects have exacting custom requirements, while others have a much broader appeal. I look forward to continually upping the game for pieces that are not only gorgeous, but are also confessionally Lutheran.

Speaking up
“Extrovert” isn’t the first thing that should come to mind when contemplating this artist, but I was asked to do an interview with KFUO’s “Concord Matters” host, Rev. Sean Smith. I gave my two cents-worth on the subject of artwork in the sanctuary, and was apparently able to string together whole sentences in the process. We’ll chalk it up to the wonders of modern radio.

What’s Coming on the Horizon
While a mountain of proposed projects are still in a fluid state, a few things are pretty much set in stone. I have one non-commissioned painting on my easel, and at least two other non-commissioned pieces are ready if time permits.

An article I wrote on sacred art has been accepted by Logia: A Journal of Lutheran Theology, and will be published in its Easter edition. 

Following in that same vein, I’ve recently written a series of nine articles for The Lutheran Witness that deal with sacred imagery. This little project was born out of negative feedback on the December 2020 cover art. It was seen as a teaching moment, so hopefully I will straighten out some misconceptions about sacred art. At the very least, I will offer a much better target for rotten tomatoes.

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