My company, Granda, and my colleagues were recently featured in a tremendous article in the Spanish magazine Palabra. It gives a great inside look at our workshop and our mission.
Obviously, I want you to read this article, be impressed with what we do, and then send it to all your priest and seminarian friends along with my contact information.
Even if you don’t do that, however, the article has interviews with real-life sacred artists who have fascinating insights into the role of our work and the future of religious craftsmanship.
A few great excerpts:
The work is similar to making a good civil dress, but “ours is destined for Mass, worship, the liturgy. I do not think we’ll ever fully understand what this means. ”
— Pilar Romero, vestments designer
My greatest hope is that the Church is an artistic avant-garde, as it was once, and that the language of modern art serves as an expression of the Gospel, that is sacred art. Joseph Ratzinger wrote that the icon is meant to draw out the echo of the sacred that we all carry within. And that is my goal: that a work of mine moves, because it is the window to heaven. That’s why I try to take care of my spiritual life: I need it for my work. Many times I’ve had artistic ideas praying.
— Juan Carlos Martinez Moy, master sculptor
Spanish-speaking readers can find the article on Palabra‘s website here.
An poorly-translated English version is available here via Google Translate.
(Note: the Google-Translated version gets kind of weird. ‘Custody’ = monstrance, ‘ceremonies’ = tabernacles, ‘stew’ = estofado technique.)