Friday, March 26, 2010 at 12:32PM ;)
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The latest commission in the studio is a great example of David's definitive style. The cracked egg which can be seen in many of David's windows denotes a new beginning. The references to nature including the Flax flower, bird and leaves can all be found in Belfast where the window will be housed.
Tuesday, January 12, 2010 at 3:54PM |
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The theme of the three light window ‘The Potter’s Wheel’ is based on the text from Jeremiah 18:6 LIKE CLAY IN THE HAND OF THE POTTER, SO ARE YOU IN MY HAND (NIV)
To the top of the centre the Divine Potter’s hands mould the clay. The moulding takes place while the wheel is in motion. The potter puts pressure on the clay; tension and relief are involved in the process. Isaiah 64:8 WE ARE THE CLAY, AND YOU OUR POTTER; AND ALL WE ARE THE WORK OF YOUR HAND (NKJV) also reminds us that God the Father, creator, moulds his people like he created Adam from the dust; Genesis 2:7 AND THE LORD GOD FORMED MAN OF THE DUST OF THE GROUND, AND BREATHED INTO HIS NOSTRILS THE BREATH OF LIFE; AND MAN BECAME A LIVING BEING (NKJV).
God’s love for his creation is symbolised by a cross (the symbol of the Church of Ireland) also a reminder of the pastoral work of the local church over the two hundred years of its existence; God’s love radiates out in a burst of warm colours. At the bottom of the cross is a potter in the process of throwing a pot, metaphorically a vessel to be used to God’s service reminding us that just as the pot is taking shape the faithful are being moulded in the likeness of Christ changed in the potters hand, REJOICING IN HOPE, PATIENT IN TRIBULATION, CONTINUING STEADFASTLY IN PRAYER (NKJV), Romans 12:12.
The discarded pot with its impurities is made new, just as we are renewed in faith through God’s love; Jeremiah 18:4, AND THE VESSEL THAT HE MADE OF CLAY WAS MARRED IN THE HAND OF THE POTTER; SO HE MADE IT AGAIN INTO ANOTHER VESSEL, AS IT SEEMED GOOD TO THE POTTER TO MAKE (NKJV); God creates us to be useful to him.
The skills of the potter are also highlighted by two vignettes right and left depicting basket weaving and hand decoration and painting of the wares. The ball of clay in front of the potter is the starting point; the raw material used in the creative process.
While the cross is the mark of Christian life, the first mark used by Belleek pottery is shown at the bottom of the centre window. The lattice shapes behind the cross is formed by the patterns of the typical basket weave design associated with Belleek Pottery along with the borders of flowers and weave pattern using subtle colours, these connect to William Henshall who brought the art of basket pottery to Belleek.
This basket is the linking element connecting all three lights and serves as a symbol of the unity of God’s creation bringing different strands woven together to form the shape indicating a sense of unity of the Belleek community.
While the centre light has an emphasis on clay the left and right lights highlight the elements of fire and water which are important in the pottery processes. In the right hand light there is water which plays a role in powering the grinding and mixing processes. The scene shows the Belleek Bridge at the river Erne with sluice gates beyond and the water wheel in the foreground; all important elements to providing water power to the pottery.
The left hand light shows the old kilns which were important to the early firing process baking the clay to a high temperature. The trails and tribulations of life like the firing are necessary for us to become stronger and useful to God. The text from Jeremiah 18:2 links the scenes in the left and right lights, ARISE AND GO DOWN TO THE POTTER’S HOUSE, AND THERE I WILL CAUSE YOU TO HEAR MY WORDS (NKJV)
The local church building is depicted with the Armstrong Memorial; this with the pointers and square in the boarder connect to the man who was a founder of the pottery and his links to the local church.
A little cottage in the left boarder relates to a story of the discovery of local china clay with its special brightness and lustre of its whitewash finish. Shapes rise up right and left emphasising the elements of fire and water. These remind us that it is through the Holy Spirit and Baptism that we are raised up in our Christian faith.
The overall colouring of the detail reflects the soft pastel tints used on the floral detail of Belleek pottery while the stronger purples and blues are used as a background colour symbolising the Kingship of Christ while the strong greens pick out the simple central cross providing a focus behind the alter.
This window, located in the new sanctuary, is a celebration of the bicentenary of the Church of Ireland’s presence in the Belleek area and its links to local Belleek pottery which celebrated 150 years in existence in 2007.
Tuesday, January 12, 2010 at 3:45PM 
The all embracing images incorporated in the design are taken from the poem 'Man, Fish and Bird' by John Hewitt, an Ulster poet.
The green man represented by the child is spring bringing new life with the young shoots growing up around him promising a continuity of life.
The yellow fish jumps upwards towards the heavens, illuminating the darkness, and bringing joy and life like the dawning of a new day or a reference to the new millennium.
The red bird dives towards the earth representing the heart of the people and as Hewitt says in his poem 'Ulster Names' "The names of the land show the heart of the race" therefore people and the land are as one.
The woven tapestry's in sepia tones recall elements from our history, early Christian, linen, paper, famine, water wheel, ship building, aircraft, farming, music, sport, distillery, pottery and so on. These help give a sense of achievement in the recent past.
The suggestion of an egg shape symbolises the "circumambience" mentioned in the poem or the embodiment of our ancestral journey, a sense of the link to our distant past. The man, fish and bird seem to leap from the centre to the unknown, a reference to our future.
The bright colours, red, yellow and green emphasise hope. These images along with the mood of the colouring I think give a sense of the depth of John Hewitt’s poem and the "circumambience" of all that Northern Ireland encompasses.
