I would love to share a story of how my art business intersected with art ministry (which can be a frequent occurance for me). This is a long post, so grab a beverage of your choice (I’m drinking a large mug of coffee) and settle in.
I just completed a contracted-paid art commission for Windrider Institute (an award winning film institute-production company owned by friends of mine). The project they hired me for was to create artwork that would represent the name of their company and the meaning behind it. The project is called “Rúach”. The particulars of this commission (though the likes of it may be familiar with other working artists who have made certain practices a part of their businesses) was very different for me and more involved than most of the commissions I’ve had the opportunity to create over the years. It was quite an incredible honor and an amazing 5 month ride. I probably will be talking about "Rúach" for a very long time.
WHAT I CREATED
This project came in the way of 2 consecutive commissions. With the first commission I designed and created the original 24inch by 30inch canvas painting of "Rúach", researched and prepped to do the hand painted print embellishments, worked with the printer (Evermore Prints), paint embellished and brush stroke gel embellished 45 prints (15 16inch by 20inch and 30 12inch by 16inch), designed 3 specific Certificates of Authenticity (one for the original painting and one each for both sizes of the prints), and numbered and signed all 45 of the prints to coincide with the numbered and signed prints. Then immediately upon the completion of that commission I was commissioned a second time, this time for the specifically for the Windrider Staff. I was to hand embellish a Special Edition Windrider Series of 20 12inch by 16inch paint embellished and brush stroke gel embellished prints with additional liquid gold embellishments and design a Certificate of Authenticity for them that would have additional embellishment on it and would go with the series, numbered and signed all 20 of the prints and certificates for the series. That’s a total of one original painting, 65 hand embellished prints, the design of 4 certificates, working with the printer, numbering and signing all 66 certificates that were printed, and professionally bagging them each up for distribution.
HOW THE STORY IS BEING TOLD
Because this was a client commissioned-contracted project, the intellectual property of "Rúach" is owned by Windrider Institute. The image itself is copyrighted. Windrider and myself contracted that we both share the rights to the image, but I do not have the right to make prints of it to sell, they hold that right. This image is very personal to them, as it directly connects into their business.
The original painting of "Rúach" sits in the Windrider office ready to share it’s story with the world. Windrider has many plans for how the story of "Rúach" will be shared. One plan is that they will be personally distributing the 65 limited and special edition embellished prints and certificates to their clients, partners, production teams, and staff. The story of "Rúach" will be told through these initial conversations and connections. "Rúach" will continue to breathe life as the recipients share the story within their spheres of influence…and so on and so on.
Windrider has given me the okay to share photos of "Rúach" and the story behind it with those in my sphere of influence…and so the wind continues to blow…and that is what I’d love to do here for you.
MISSION STATEMENT
Windrider Institute and I share a similar belief and mission statement about the importance of listening to and sharing stories through our creative work in ways that open up conversations and allow for connection. They do it through film and I do it through painting. Partnering through “Rúach” has given us the opportunity to be a part of that storytelling together.
Windrider Institute Mission Statement:
The Windrider Institute creates, curates and responds to film and visual media, sparking thoughtful conversation around the most significant topics in our culture.
The name Windrider comes from the Hebrew word, Rúach, first found in Genesis 1:2. We ride the Rúach, the wind or Spirit of God, as we tell stories and have meaningful conversations.
Windrider believes in the power of story to illuminate what is happening in our culture, transform the hearts and minds of individuals, and transcend the current standards of communication.
revelatorART Mission Statement:
Creativity is like a conversation. There are conversations going on all the time. Conversations with the artist and the work, with the artist and the Divine, with the artist and nature, with the artist and humankind, with the artist and self.
Creativity allows me to come alongside others and enter into the conversations that are already happening. I love listening to conversations. If I'm invited into the conversations this brings about collaboration.
Collaboration is an invitation to the sharing of ideas. It's able to get past the walls of cultural differences, age, race, gender, religion, politics, economic standing, education, distance, even time. It’s a huge part of building relationship.
I believe humankind is a relational people. We need each other. I have found that no matter what culture we come from, art is a diverse language that can be a great way to enter the conversation human to human to build community. It transcends language barriers. Learning to communicate in this way to help foster growth and healing within individuals and groups is what motivates me in everything I do.
Creating Rúach
"Rúach"
(Spirit, Breath, Wind)
©2022
By Artist, Lisa Marten
Original Abstract Expressionist Painting on Gallery Wrapped Canvas.
Size: 24x30 inches.
Created with Acrylic Paint, Latex House Paint, Charcoal, Chalk Pastel, and Graphite.
PAINTING STATEMENT
"People often ask about the origin story for the name Windrider and its connection to the biblical creation story has long captured my imagination. Rúach, the Hebrew word for God’s spirit, breath or wind, is first mentioned in the very first chapter of Genesis. Pronounced roo-akh and when spoken, the word engages the entirety of one’s breath and lungs. As I have envisioned God’s wind hovering over the formless and desolate emptiness, where darkness was over the surface of the deep, it always felt visceral and wonderfully wild to me. This breath, spirit or wind, is not something that can be constrained, confined or controlled. Although I cannot see it, know where it is coming from, or where it is going, I have come to understand that this ancient wind is very much active in the present and if I let go and cede control, I am invited to ride it. Lisa Marten’s poignant interpretation of Rúach has touched my heart and stirred God’s Spirit within me and I hope that all who encounter this beautiful piece are inspired and exhilarated as well, joining the invitation open to everyone, to become Windriders."
-John Priddy, CEO, Cofounder Windrider Institute
"How does an artist depict Rúach hovering over the creation of the earth and deep waters in a 2 dimensional painting made up of the limiting organic materials of cloth and paint pigments? As an abstract artist, for for me, this became an exciting challenge. I chose to go back to the beginning by asking more questions. What is Rúach? Spirit, breath, wind. Who is Rúach? The presence of the Divine. What is Rúach doing here? Hovering over the deep waters of creation. For this painting, I wanted to capture an abstract expression of the airy breath (that would speak and breathe into existence every part of creation, even humankind) along with the fiery spirit (that would spark life and purpose and relationship into that same creation).
The colors of deep blues and greens throughout, along with the white corners represent the deep waters churning and frothing on the surface. I chose to paint the white whispy circles in the center to represent the presence of the breath of God swirling and hovering. The brushstrokes of reds, oranges, and yellows (almost like abstract feathers on a wing) represent the fiery spirit of God being fanned by the breath and wind, sparking life into creation."
-Lisa Marten, Artist
COLLABORATION CONVERSATION
It started with a couple of phone calls. My friend John Priddy, Co-Founder and CEO of Windrider Institute, phoned me with the idea of commissioning me to paint “Rúach" (the breath of God over creation and the inspiration behind the name of their company) and to take it further by hand embellishing limited edition prints and certificates of authenticity for them.
Along with being an ordained and licensed Traveling Art Minister, I am a self-employed working Artist that owns an art business (revelatorART) where I create original abstract expressionist paintings (in studio and live) for sale. Part of that job is taking on contracted art commissions for payment.
Because of who I am, regardless of if something is operating on an official business matter or if it’s operating on an official ministry matter, I consider everything (no matter what capacity it is implemented) an opportunity for “ministry” (I believe the behind the scenes conversation involving God speaking to us humans in creative ways through all the aspects of what makes up our lives is very active and present no matter what it “looks” like and my partnering with God within this Art and Ministry intersection is how I actively conduct myself). So having business and ministry interwine is nothing new to me. Sometimes it’s implemented incognito (perhaps my client is unaware of the Divine conversation and collaboration that is happening on their behalf) and other times (like in the case of “Rúach”) it’s implemented quite out in the open with full awareness.
I was honored to be hired for this kind of contracted commissioned project (that due to the missions of both Windrider and revelatorART, we were able to join together for ministry through business and we both were on the same page with this). It was an exciting conversation with John (spanning 2 weeks) as we brainstormed and collaborated together and nailed down the details of the project. I drew up the contract, we signed it and I got to work on implementing what I was to create for Windrider.
PAINTING DESIGN AND STUDIO PAINTING PROCESS
As expressed in the Painting Statement, John came to the table with the original idea for the image to be an abstract representation of God’s Spirit breathing and hovering over the deep at the time of creation and I came to the table with the creative implementation of that idea through painting.
After spending some time reading and meditating in the first chapter of Genesis where “Rúach" is first mentioned in the Bible I also listened to a couple of podcasts talking about “Rúach" in the overarcing story throughout the Bible to immerse myself in the conversation God was having. I asked Holy Spirit to show me what it was I was to paint for this specific project and that’s when the image revealed itself. I sat down and designed the image through a creative program I have on my computer giving me a digital mock-up for what I would create on canvas. Then after sharing the image with John and getting his all clear I was able to go purchase a canvas and the paint and supplies I needed so I could create it.
My art studio is like my sanctuary. When I create in there it’s a sacred conversation with God. It took 7 hours straight to paint "Rúach" in my studio, during which I allowed myself to fully enter into the process through prayer, worship and dance as I made marks and brushstrokes and splatters and joyously experienced every moment of the process through the talents God has given me. I wish I had captured more of the in studio painting process through photo and video but I was so caught up and involved in the moment of creating and worship that this is the only photo I took and it was towards the end. When I was finished all I could do was stand there and cry. It was one of the most profound creative partnerships with the Divine that I’ve experienced.
“RÚACH” REVEAL TO WINDRIDER
I was invited by John to a brunch for the Windrider Team (kind of the after party for them from their week engaging in the Sundance Film Festival) and I had the beautiful opportunity to reveal and present the final painting of Rúach to them and talk story about my creative process and the symbolic meaning of the painting and it’s elements with all its elements. Holy Spirit was so present with us and speaking so deeply to each person. God carried my words through the air and spoke love to each of their hearts, the moment became sacred, some in the room were crying, others had their mouths open, John was ALL smiles. They loved it! “Rúach” was alive!
DOCUMENTING THE EMBELLISHED PRINTS AND CERTIFICATES OF AUTHENTICITY PROCESS
CERTIFICATE DESIGN AND PRINTER PROCESS
I needed to design the Certificates of Authenticity next in order to be able to have them printed at the same time that the original painting would be scanned and prints would be made. I consulted an artist colleague of mine to see some certificates that she had designed in order to have an idea of direction. Then I set to work designing something very unique for "Rúach" on my computer. With the first commission I needed to design a separate certificate for the original 24”x30” painting, for the 16”x20” prints, and for the 12”x16” prints. All 3 would look the same with slight variations to the wording about size of prints and number of prints. A fun thing I chose to do instead of just using text for the title of the painting I created an artistic graphic logo for “Rúach" itself. For the second commission Special Edition Windrider Series of 12”x16” prints I needed to create a 4th Certificate of Authenticity, along with changing the working for size and number of prints, I added a new fire spark graphic highlighting with liquid gold pen near the “Rúach” logo and a special title.
When I took the original painting into the printer to be scanned to make prints I also dropped off a flashdrive with the PDFs of the 3 Certificates of Authenticity for the first commission. When ordering prints and certificates for the second commission I just needed to give them the PDF of the 4th Certificate of Authenticity for the Special Edition Windrider Series.
I take my original paintings to be scanned for prints to Evermore Prints in Boise, Idaho. They are a local company that prints and ships internationally and specializes in printing artwork for Artists. Owners, Jake Soper and wife Moriah Christensen and their team print fine art giclée prints on high quality papers and canvas. I’ve been utilizing their services for over 10 years and will do printing business with no one else. I love partnering with them. They are quality people who do a quality job and are die-hard advocates for local artists.
They did an amazing job printing all 65 limited edition prints on canvas (15 gallery wrapped on wooden frames with wires ready to hang and 50 unstretched with 1/2” borders) and all 66 Certificates of Authenticity (1 on cold press water color paper for the original and 65 on card stock for the prints).
EMBELLISHMENT RESEARCH AND PREP PROCESS
It took some time for the entire printing process to be completed at the printers so while I waited I took the time to research and prep for my next step in the process, which would be the embellishments. Having never painted embellishments on prints before I had a lot of questions about the process so to find my answers I did a lot of searching on-line checking out what other artists have done and consulted with an artist colleague who had some experience.
After learning about the various steps of paint and gel stroke embellishments on prints I purchased the art supplies and products I would need in time so I could practice what I wanted to do on the prints once I would have them (this included transparent gel medium, brushes, more paint, paint pens for signing).
I needed to rearrange the set up and work space in my art studio to make room for my painting station and also table space for numerous prints to dry at once after being embellished. Once it was set up I created paint mock-ups of “Rúach" on canvas to practice the paint embellishing and then the gel brush stroke embellishing and the signing and numbering on. This helped me learn how the products worked, how long it took for me to embellish each print, and it gave me a good idea as to what I really wanted to do.
And I purchased plywood, and together with my father using the power tools in his wood shop, we sawed and sanded the boards into enough 14”x18” boards to tape the 12”x16” prints to for easier handling when embellishing, working on them in smaller sets of 15 rather than the entire amount all at once.
The research and prep process was just as important as the actual implementation process. The creative conversation with God continued throughout and prepared me for the next step.
PAINT, GEL, AND GOLD EMBELLISHMENT PROCESS
Once I had the prints and certificates it was time to get to work on the embellishment process step by step. I needed to create a very purposeful schedule that would give me the time to implement the embellishment process and meet the deadlines for my contract with Windrider. As I worked, I spent the time praying for those would receive the prints to own. With the second commission Special Edition Windrider Series I worked on all the same paint and gel embellishments and then I also worked on additional liquid gold leaf embellishments to make them stand out as a different series.
I numbered and signed each of the Certificates of Authenticity and fixed them to their poster boards and slipped them into their cellophane bags ready for John to sign once I could drop them off at Windrider.
I spent the remaining time working on the paint embellishments on each print highlighting the whispy circles and the colorful sparks of “Rúach”. Once they were dry I worked on the gel embellishments covering the entirety of each print to give it a paint brush stroke feel like a painting. For the Special Edition Windrider Series I applied the liquid gold leaf embellishments last, letting them stand out and reflect on top. After they were dry I spent time signing and numbering the front and back of each print to coincide with the Certificate of Authenticity that would go with it. With the Windrider Series I signed in gold leaf pen on the front of the print.
POST-PRODUCTION PACKAGING PROCESS
During the prep process I had purchased clear cellophane bags that I would be able to slip each of the prints into after they were embellished, signed, and numbered and each of the certificates into once they numbered and signed (and for the Special Edition Windrider Series, also hand embellished with liguid gold leaf to match the print embellishment) for protection and a professional look. I had also purchased and cut white poster boards to fix each of the certificates onto and to set behind each of the unstretched canvas prints for stability within the cellophane bags.
So once the embellishing process was complete I packaged up each of the prints and each of the certificates so they would be ready for distribution to their new owners. My part of the process was complete and I was able to take them all over to Windrider so they could be distributed to their clients, partners, production teams, and staff. It was an incredibly fulfilling moment to drop them off knowing that I had accomplished such a huge commissioned project and that the image and breath of “Rúach” would continue to spark life and speak love as each print travels (much like I do myself) to their new homes and owners to minister life however and to whomever the Spirit leads.
THANK YOU
Thank you for reading this far and for being a part of the continued conversation through creativity. Your prayers, encouragement, and support for who I am and what I do as a working Artist and Traveling Art Minister helped to fan the flame of this project as business and ministry intersected.
While I was busy working on “Rúach”, not only did Windrider do very well at the Sundance Film Festival this year with several of their films winning awards, but in addition they won an Academy Award at the Oscars this year for one of their films! Getting to work on this project for them at a very exciting time in their business career was such a fulfilling moment for me, knowing how special my work would be in telling their story.
Thank you to John Priddy and everyone at Windrider for inviting me into the creative conversation of “Rúach” with you. It was a pleasure. Let's keep riding the winds where they take us.
Thank you again to everyone for your thoughts, prayers, encouragement and support throughout this project. YOU are so very appreciated!
May we all love much and love well as we ride the rippling waves churned by the Spirit-led breath and winds of Rúach wherever they lead us to listen and share story together.
LINKS and TAGS:
WINDRIDER INSTITUTE
WEBSITE:
TAGS:
Instagram: @_windrider @priddy_john
Facebook: Windrider Institute
https://www.facebook.com/windriderforum/ @windriderforum
LISA MARTEN
WEBSITE:
TAGS:
Instagram: @revelatorart
Facebook: revelatorART: Lisa Marten
EVERMORE PRINTS
WEBSITE:
TAGS:
Instagram: @evermoreprints_boise
Facebook: Evermore Prints
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