Reviews & Profiles


from The American Conservative

Portrait of the Artist as Iconographer: Searching for Meaning in the Postmodern Wasteland, by Bradley Anderson, The American Conservative, November/December 2017.

The process of learning to be an iconographer is unique. While traditional iconography requires an understanding of form and proportion characteristic of classical Western art, and while it involves elements of abstraction and altered perception that influenced modern artists such as Matisse and Chagall, iconography, at its core, employs both a realism and an abstraction emanating from a particular view of the cosmos.


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from Orthodox Arts Journal

An Icon of St. John of Kronstadt by Fr. Silouan Justiniano, by Jonathan Pageau, Orthodox Arts Journal, June 19, 2014.

With careful observation, one will notice how this image is very subtle, deliberate and complex, though this is not immediately apparent. The experience we get from looking at it is a calm vibrancy. Of course this experience of the icon is partially in the drawing, in the hieratic eyes of the saint...


from Road to Emmaus

Beauty as a Double-Edged Sword: Icons, Authenticity, and Reproductions, in Road to Emmaus. Appeared in the Summer 2013 (Volume XIV, No. 3, #54) issue.

...in sacred art the artist works through a very precise methodology and style, a pictorial language established by tradition that embodies and communicates an intelligible symbolic message. Sacred art mediates between the heavenly and earthly, the Divine and human spheres. It asserts a correspondence between the two, “as above, so below.”


from Road to Emmaus

An Intimation of the Sacred: The Iconography of Hieromonk Silouan, by Tikhon Pino, in Road to Emmaus. Appeared in the Summer 2013 (Volume XIV, No. 3, #54) issue.

An art form that appears so constrained and so limited at once admits of an enormous amount of freedom. Whereas archetypes, structures, and dogmatic parameters are given by the tradition, the work will inevitably reflect the iconographer’s peculiar theological vision, temperament, and ability. Such details as color, line, composition, and rhythm all come together to give voice to “a visual sermon” bearing the unique stamp of the artist.