Religious icons were considered windows into eternity.

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Pre-historic men and the oldest civilizations including Egypt, used the image as a means to enter into contact with deities. They used art as a way to invoke the presence of the divine; the image had a sacred purpose. Although considered somewhat secondary and marginal, the artistic creation of a religious icon caught Arlette's attention and kept her interest because of the complex nature of its execution.

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STEPS OF CREATION - The different materials Arlette uses in the preparation of a religious icon are numerous and of great importance: the choice of wood for the panel (must be hard, smooth and without knots), egg tempera, emulsion, rabbit or fish glue, interfacing and multiple white layers (up to seven or eight) which support the painting on the icon. She applies the first layer of colours on the well polished background, but first, she free hand sketches the drawing (or trace a traditional model), which she then engraves with a dry point.

 

After that, before covering with a thin sheet of gold, Arlette darkens the background and polishes it with a sheet of fine glass. As a final step, she applies a layer of shellac to protect it.

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PAINTINGS - Painting is the most important phase that we call opening. Originally, the iconographer was to put himself in a state of grace, through fasting and prayer. His palette was made up only of natural pigments, mostly minerals. The most widely used pigments are earths and ochres, mixed with minerals with a brighter crystalline structure.

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Today, we replace these pigments with synthetic colours. To apply the colours, Arlette uses soft, elastic brushes made of squirrel or marten hair – always handmade. She starts by applying the background colours, in the darkest tone, then the clothes, the architecture and the parts of the body that are visible. She then adds the paint in a gradient, to create an impression of volume. At the very end, to create maximum brightness, she adds a touch of white or thin gold hatching, which is an artistic technique to create shading effects, by painting closely spaced parallel lines. After two or three days, the icon is dry and ready for varnishing. She applies a greasy varnish that has been used for centuries in the monasteries of Mount Athos.

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SPIRITUAL DIMENSION - Originally, the creation of a religious icon was not reduced to "how-to steps". A blessing was needed to turn this painted wood into a sacramental instrument of divine grace. Fulfilling the work of an iconographer meant obedience, skill, experience and creative genius, as well as spiritual asceticism, humility, faith and the support of a community of believers.

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The iconographer believes that he has lent his hands to the Lord so that He may manifest Himself. This is why religious icons are not signed: they do not belong to the painter, but to the eternal Mystery of God.