{"id":15348,"date":"2026-03-10T11:30:16","date_gmt":"2026-03-10T11:30:16","guid":{"rendered":"https:\/\/gpbookstore.org\/articles\/uncategorized\/how-an-artist-found-her-purpose-through-this-divine-encounter\/"},"modified":"2026-04-10T05:59:18","modified_gmt":"2026-04-10T05:59:18","slug":"how-an-artist-found-her-purpose-through-this-divine-encounter","status":"publish","type":"post","link":"https:\/\/gpbookstore.org\/articles\/angels-and-miracles\/miracles\/gods-grace\/how-an-artist-found-her-purpose-through-this-divine-encounter\/","title":{"rendered":"How An Artist Found Her Purpose Through This Divine Encounter"},"content":{"rendered":"

It was the summer of 1994, and my husband, Mick, and I were being shown around the French convent of Saint-Georges-des-Gardes by Sister Jean de la Croix. Mick was a photographer<\/a> specializing in garden and architectural photography, and he was working on a new book, Monastic Gardens<\/i>. This convent in western France was one of many we\u2019d visited in the past weeks, so Mick could take photos of the grounds.<\/p>\n

I was admiring Saint-Georges-des-Gardes\u2019 stark and unassuming beauty\u2014the bare walls, the simple arrangements of fresh wildflowers on a table in the hallway, the polished, dark gray stone floors\u2014when Sister Jean pulled me aside.<\/p>\n

\u201cYour husband tells me you\u2019re an artist from New York,\u201d she said, a glimmer in her eye.<\/p>\n

\u201cYes,\u201d I said. \u201cI\u2019m a painter.\u201d<\/p>\n

Even as I said the words, they felt hollow. When I had first picked up a paintbrush as a child, it felt as if I was channeling something bigger than myself onto the canvas. I\u2019d chased that feeling all the way through art school. Then it vanished. I\u2019d hit a creative rut. I\u2019d painted everything under the sun, from landscapes to abstract shapes, trying to snap myself out of it, but none of it spoke to me. I was beginning to think it was time to give up painting.<\/p>\n

I\u2019d even started attending graduate school for art therapy<\/a> in an attempt to shift careers, but so far I still felt I was just going through the motions. I missed that profound and purposeful feeling I\u2019d felt when I started painting<\/a>. Somehow I\u2019d lost it along the way, and I was left yearning for it.<\/p>\n

\u201cIf you\u2019re an artist, then you must see Sister Myriam,\u201d the nun said decisively, bringing my attention back to the present. \u201cShe is our resident iconographer. She\u2019ll want to meet with you.\u201d<\/p>\n

An iconographer?<\/i> I wasn\u2019t sure what that meant. I vaguely remembered studying icons in art school. The traditional portraits of saints and other religious figures<\/a> were painted using a technique with ancient origins. I\u2019d certainly never heard of a contemporary iconographer. But I didn\u2019t want to seem impolite after Sister Jean\u2019s hospitality, so I agreed to come back the next day to meet with Sister Myriam.<\/p>\n

\"\"
Saint Michael and The Dragon <\/em>by
\nChristine Hales<\/figcaption><\/figure>\n

Her studio was a small room in the basement of the convent. Sister Myriam was a tiny, hunched old woman. She beckoned me inside. As I looked around, she pulled out a shoebox. She sat at a wooden table and motioned for me to sit next to her, and I did.<\/p>\n

Inside the box were hand-painted postcards, each featuring a different icon. They were absolutely stunning, vibrantly colored and filled with intricate details despite their diminutive size. She took them out one by one, gently passing them to me and describing the painting<\/a> and her artistic process. She didn\u2019t speak English, and I didn\u2019t speak much French. Yet incredibly, somehow, we were able to communicate. She told me that prayer was a key part of the iconography process, that each icon took hours to create and that the artist spent that time communing with God, reflecting on his inspiration. As she spoke, a feeling overcame me. I\u2019m not sure how to describe it, other than that I felt God\u2019s presence in the room, nudging me toward a realization that this was what I\u2019d been searching for. These icons were everything I\u2019d been reaching for as an artist up to this point. They required the utmost technique, skill, symbolism, meaning<\/i>. It was a way to capture the spiritual\u2014the ephemeral\u2014in an image. It was faith made tangible.<\/p>\n

I spent almost four hours in that studio. I emerged a different person. My husband even noticed it when I returned to our hotel room.<\/p>\n

\u201cWhat happened?\u201d Mick asked.<\/p>\n

\u201cWhat do you mean?\u201d<\/p>\n

\u201cI don\u2019t know\u2014you look different.\u201d<\/p>\n

I felt different.<\/p>\n

When the trip was over and we returned to the States, I immediately met with my graduate advisor to change my focus of study. I was going to be an iconographer.<\/p>\n

Over the past three decades, I\u2019ve studied the Russian style of icon painting, along with the Greek, English, Italian and Coptic styles. I\u2019ve learned from them all and used the lessons they\u2019ve taught me to inform my own style. My work has been commissioned by churches and individuals and displayed across the world. I feel a deep sense of satisfaction, knowing that my icons help keep this sacred art form alive for others to experience.<\/p>\n

For me, being an iconographer is all about using the knowledge of the past masters to bring that spirit\u2014that faith\u2014into the modern era. Hopefully, my art will inspire others to reconnect with God, the ultimate source of creativity, and affirm their true purpose. Just like my timely encounter with Sister Myriam and her icons did for me.<\/p>\n","protected":false},"excerpt":{"rendered":"

It was the summer of 1994, and my husband, Mick, and I were being shown around the French convent of Saint-Georges-des-Gardes by Sister Jean de la Croix. Mick was a photographer specializing in garden and architectural photography, and he was working on a new book, Monastic Gardens. 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