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| First Name | Peter |
| Last Name | Wilke |
| Born | 1950-09-26 |
| Country | United States |
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| Biography | |
Peter Wilke was born in California and has resided in South Dakota for many years. Peter has been interested in religious art for many years. While growing up he was influenced by his mother, Margaret Wilke, herself an artist. He has worked in a variety of media: relief wood carvings done as primitive carvings in an "Icon" style; oil painting and pen & ink drawings; ceramic murals and calligraphy -- mostly of religious subjects. He studied Iconography under the aegis of the School of Sacred Design in New York City and Gold Leaf Frame Makers of Santa Fe, New Mexico.
His interest in iconography is as much a spiritual journey as it is a technique. Peter's interest in the field of iconography is an ongoing one. For many years now he has been attracted to the Icon as a still point for prayer and reflection. In a culture overwhelmed by words he has found, in the language of color and symbol, expressed in the Icon, the silent revelation of God's presence.
Peter seeks to enable others to enter into the experience of prayer through the Icon. In order for people to do this they need some fundamental understanding of the language used in the Icon. People in the West are not accustomed to a language of color and symbol and thus, often miss the purpose of the Icon. An Icon is not simply a religious picture which one either likes of dislikes, but rather a window into the Divine presence
Peter creates in the traditional Byzantine manner using only natural materials. All the pigments are made of ground stone, 23K gold is applied to the Icon. In an age obsessed with material acquisition and manufactured goods our culture is losing an appreciation of handcrafted workmanship using the things of the earth. While many today prefer the expediency of acrylic paint and synthetic materials. Peter prefers traditional materials because each has its own place in creation and expresses an important reality of who we are and who we are called to be.
Peter has exhibited on a national and international level; conducted seminars in the writing of an Icon, offered lectures to the public to increase an awareness and understanding of the Icon and is recognized as one of the primer authorities on the subject of Iconography in the Western world . Articles about Peter and his work have appeared in numerous newspapers and magazines. He has been featured in numerous radio broadcasts and featured in South Dakota Public Broadcasting programs.
Associations
Member of the St. John of Damascus Society of Iconographers
Society of Gilders
Society of Egg Tempera Painters
Artist Statement
I am a contemporary Iconographer who creates Icons in the traditional Russian manner. That is, all the elements used in the creation of my Icons are natural: ground stone for pigments, hard woods, natural linen, marble dust, 23K gold leaf, natural glues and natural sealers. The methodology and process of this old world way of Icon writing is the same that has been used by artists for over 1500 years, but it is quickly becoming a dying art form. Ours is a world in which the increasing use of photomechanical reproduction and synthetic materials makes the traditional time consuming process and use of all natural elements in the creation of the Icon a rarity.
The roots of Russian Iconography can be traced back to Egyptian encaustic painting. Through the course of history it has been heavily influenced by Greek and Byzantine Cultures. The subject matter of traditional Russian Icons falls into three major categories of 1) images of persons, which are usually Christ, Mary, or the saints; 2) events that are scriptural events of the life of Christ or historical events in the life of a particular saint; or 3) allegory, or stories and parables extolling virtues and more visionary in subject matter. Traditional Russian Icons have three distinguishing characteristics. First, as an art form, they are created following a canon or set of rules as to the materials that can be used and the manner in which they are created. Secondly, the artist, or writer of the Icon as he or she is called, uses a language of color and symbol in which certain colors and symbols carry pre-determined meanings. Finally, the traditional creation of an Icon is a spiritual process and its use is for a spiritual purpose as well as an artistic one. The different stages in the writing of an Icon relate to the different levels of the spiritual life of the creator.
The language and spirituality of traditional Icons are the more difficult characteristics for the western mind to perceive and understand. English, for example, employs a certain grammar, and as long as people use that same grammar to communicate, they can understand one another. Iconography also uses a certain grammar, but in color and symbol, and how color and symbols are used determines the meaning of what is being expressed. In the same way that symbols of an alphabet can be put together to form words and ideas, the combination of color and symbol used by the Iconographer convey certain ideas and meanings. Historically in many cultures where Iconography is part of the everyday fabric of life, the majority of people were uneducated and could not read or write. Icons therefore became a major source of public education and a tool for teaching. In most art, the painter allows his or her personality to enter the painting. The subjects may be real people and the world may convey great emotion. In traditional Iconography the writer of an Icon follows a strict canon which does not allow his or her personality or emotional response to enter into the creation of the work.
An Icon is not only a work of art for many peoples throughout the world, but also a window through which to view the Divine. The relationship of the viewer to the Icon goes beyond liking or disliking the piece of art work. The Icon speaks to the educated viewer in a special and spiritual way. The language of the Icon is the language of the heart, a language of intuition, a language of one soul speaking to another. In the Icon there is no attempt to make the person represented look real. In fact, the figures are distorted intentionally, elongated, so that they cannot be confused with a real person. The eyes are large and luminous to signify that they have beheld the divine. The nose is narrow, the mouth is small because the presence of God has lessened the person's need for sensual satisfaction. The Icon is an image, but the viewer is not so much focused on what is seen in the Icon, but rather on what one sees through it. What is seen through the Icon is the love of the Divine for all creation. Icons created in the traditional ways, while beautiful, are primarily created to express faith. Icons are always doorways into stillness, into closeness with God. The guiding principle is that if one sits with an Icon long enough one can enter that stillness and into that communion. And, if one listens to it closely enough and with an open heart, one will hear the voice of God.
My interest in Iconography is as much a spiritual journey as it is a painting technique. Working in the traditional style affords me a deep appreciation of the art and methodologies of the past, as well as enables me to create contemporary expressions through an ancient art form. In an age obsessed with material acquisition and manufactured goods, our culture is losing an appreciation of handcrafted workmanship utilizing the things of the earth. While many artists today enjoy the expediency of synthetic materials, I prefer using natural materials because each has it own place in creation and expresses an important reality of who we are and who we are called to be in the world.
Selected Exhibits
2000 Gazing into the Eyes of Mystery, Bottle Works Cultural Center, Johnstown, Pennsylvania
1998 Gazing into the Eyes of Mystery, St. Jude Shop, Havertown, Pennsylvania.
1998 Gazing into the Eyes of Mystery, Kirner's Catholic Book Store, Pittsburgh, Pennsylvania.
1998 The Icon, Gazing into the Eyes of Mystery, The Journey Museum, Rapid City, South Dakota.
1998 The Icon: Gazing through the Eyes of Mystery, The King's House, Scottsdale, Arizona.
1997 The Icon: Gazing through the Eyes of Mystery, Washington Theological Union, Washington, D.C. 1997 Image of the Invisible, The King's House, Scottsdale, Arizona
1996 Image of the Invisible, Paul VI Institute of the Arts, Washington D.C.
1995 Image of the Invisible, Prairie Edge Gallery, Rapid City, SD
1994 Image of the Invisible, University of St. Thomas, St. Paul, Minnesota. Sponsored by the Art History Department. Also participated in the University's Artist-In-Residence Program.
1994 Image of the Invisible, Sung Center, Omaha, Nebraska.
1994 Image of the Invisible. Prairie Edge Gallery Exhibition, Rapid City. Sponsored by Ray Hillenbrand
1993 Images of the Invisible, Dahl Fine Arts Center, Rapid City, South Dakota. Exhibit sponsored by the M.L.Gould Company. Also participated in Art in the Airport program sponsored by the Dahl Fine Arts Center in conjunction with the exhibit.
1992 Contemporary Iconography, The Springs Gallery, Hot Springs, South Dakota.
Public/Institutional Collections
University of St. Thomas, St. Paul Minnesota (Six Major Pieces)
Black and Gold Crucifix, 5'x 4'Icon, Epiphany Monastery, Columbia Falls, MT. Blue Cloud Abbey, Marvin, South Dakota, Black and Gold Crucifix.
St. Thomas More, Exterior Ceramic Mural, 15'x 15', St. Thomas More High School, Rapid City, SD
Bibliography
Dakota Life 2002, Peter Wilke, South Dakota Public Broadcasting.
"Saints in South Dakota, Kimberly Metz, South Dakota Magazine, November/December 1998
"Venerable Tradition of Icons Showcased" Daniel Hahne, The Catholic Sun, Phoenix, AZ, February 1997.
"Grand Scale," Laurie Halstrom, Photo essay of 15'xl5'Ceramic Mural of St. Thomas More,
West River Catholic, April 1995
"The Icon", Dawn Gibeau, Praying Magazine, November 1995.
"Painted Icons on Display in Omaha," Bill Baton, Omaha World Harold, June 1994
"Images of the Invisible," The Highland Villager, September 1994
"Icon Exhibit symbolizes faith, purity," Michelle Carlson, The Quin, October 1994
"Images of the Invisible Opens at the Dahl Fine Arts Center", Don Polovich, Rapid City Journal,
April 1993
"Iconography High in Symbolism," Rapid City Journal, April 1993
"Dahl Fine Arts Center features Iconographers," Eileen Sullivan, West River Catholic, April 1993.
"Iconographer Teaches Spiritual Art of Icons", Kathy Gustafson, Argus Leader, August 1998.
Educational Programs
Demonstrations on Traditional Icon Writing and Lectures on the History, Language, and Spirituality of Traditional Iconography given at various locations in conjunction with all of the exhibits listed above. In addition in 1998 lectures on Iconography were given at the Journey Museum for docents and numerous elementary, middle and high school students from area schools. A presentation on Iconography was also given at Wilson Elementary School to a class studying Russian History.
Lectures at St. Olaf Catholic Church, Minneapolis, MN, 1996.
One week residency featuring lectures and demonstrations at the University of St. Thomas, St. Paul, MN.
Icon Writing workshops and retreats and private students. |
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