The Joyful Mysteries
18" by 24" Watercolor on aquarelle paper, mounted on cradle board.
Hail Mariam, full of grace, The Lord is with you.
Blessed are you among women.
Blessed is the fruit of your womb, Yeshua.
According to the Gospel of Luke, these words were spoken by the Archangel Gabriel to a young Jewish girl, about fourteen years old, from the small village of Nazareth in Israel two thousand years ago. When I reflect on this narrative, I am amazed by her calmness and her willingness to accept Yahweh’s plan and timing. Most people in her situation might have said, “Hold on a minute, I’m not yet married. Why not wait until I marry Joseph, and then I can become the mother of the Messiah?” But instead, Miriam (Mary in English) accepted Yahweh’s request and became the vessel for the Christ. From that point, her life was filled with danger and unexpected events. Almost no one believed her story, not least of all her betrothed, Joseph. However, knowing the consequences for infidelity could be death by stoning, Joseph decided to quietly void their legal agreement to marry. Her mother, Anne, would have been deeply upset. Her father, Joachim, would have arranged for Mary to stay with her aunt, Elizabeth, and her uncle, Zacharias, until the baby was born. Most people in the village probably knew what was happening, but no one spoke about it, likely because they did not want to see Mary put to death. Mary insisted she had done nothing wrong. She held to her story that an angel had told her of Yahweh’s plan and that she had agreed to it. It is easy to imagine that people around her thought she was mentally ill or even possessed by a demon. Then something unexpected happened. Joseph had a dream in which an Angel of the Lord, most likely Gabriel, appeared and told him not to be afraid to take Mary as his wife, assuring him she was telling the truth. This dream was clearly extraordinary. Moved by it, Joseph agreed to take Mary as his bride. Still, she spent the early part of her pregnancy at her aunt Elizabeth’s home in the nearby city of Juda. Elizabeth, who was considered old for that time, probably in her 40s, was pregnant with John, who would later be known as John the Baptizer. The story continues with Elizabeth immediately recognizing that Mary was pregnant with the Messiah. The unborn child in her womb leaped for joy, and Elizabeth proclaimed, “Blessed art thou amongst women and blessed is the fruit of thy womb, Yeshua!”
The Centerpiece
In the center of the painting, I have portrayed Mary as a young girl who is several months pregnant, sitting on a rug, unabashed about her state. Unlike her counterpart Eve, who felt shame at her nakedness after eating the apple of the knowledge of good and evil, Mary is not ashamed of her body and proudly displays her pregnancy. She is envisioned as the earth mother. There is no reason for her to feel that she must cover her pregnancy or hide her feminine nature. She glances to the side, as if watching something just beyond sight. Her smile is warm and a little mysterious. She gently cradles her unborn child. The Sacred Heart of Christ blazes in her chest. She appears serene and full of supernatural grace. The Star of Bethlehem shines above her.
Annunciation to Mary
The upper left quadrant of the painting depicts the Annunciation to Mary. The scene is an idyllic countryside on a clear, slightly cloudy day. The Angel Gabriel appears as a being of air and light, only partially manifested as a person. Mary's eyes are closed, as if she is experiencing the Angel's words telepathically. She is in deep reverence, her hands clasped before her, almost in a prayer position. The clouds behind her suggest a halo.
Mary and Elizabeth
The upper right section illustrates Mary and Elizabeth meeting. Their encounter is joyful, as both are soon to become mothers. Mary will show her love by supporting Elizabeth as a doula and helping around the house. Elizabeth will guide Mary and help her learn to be a mother and a wife. Like faith that needs action to bear fruit, love also needs to be shown through deeds. Even the smallest act done with love is a sign of God’s grace expanding in the world.
Nativity
In the lower left part of the painting, I show the nativity scene. Mary and Joseph hold the newborn Jesus, together. Joseph’s arms are around both Mary and the baby. There is a lamp in the cave wall, which stands for the Divine Light entering the world. This Light has taken human form so that people can become the Light.
Presentation at Temple
In the lower right of the painting, I show Jesus being presented at the Temple in Jerusalem. The rabbi and Joseph stand at the podium as the rabbi reads from the Torah. Mary and Jesus are placed behind a barrier, which shows how women were given a secondary role in society. The baby Jesus reaches toward the Torah, indicating his natural desire to fulfill the law and the prophets within himself.
At the bottom of the painting, mustard plants stretch out on both sides. Jesus used the mustard plant as a symbol to show that the Kingdom of God starts with a small act of love and then grows into something much bigger. Since mustard plants can quickly spread and take over an area, this also suggests that the Kingdom of God will appear in surprising ways. Trestles on both sides of the painting hold up climbing rose vines with purple roses. These roses stand for royalty.
The Luminous Mysteries
18" by 24" Watercolor on aquarelle paper, mounted on cradle board.
The Luminous Mysteries, the second of the four mysteries of the rosary, illustrate Jesus’s mission as he reveals divine reality through his teachings and actions. Jesus commenced his public ministry at the age of 30, having previously lived in relative obscurity in Nazareth, where he learned the trade of woodworking and stonework from his earthly father, Joseph. Aside from significant events such as his birth, the flight to Egypt, and the episode at the temple at age twelve, his early life remained largely unremarkable. His ministry began with his baptism by his cousin John at the Jordan River. His first public miracle occurred at the wedding in Cana, where, at his mother’s request, he turned water into wine. Throughout the subsequent three years, Jesus revealed transcendent reality through miracles, healings, sermons, and exemplary conduct. Near the conclusion of this period, he disclosed his divine nature to his closest disciples: Peter, James, and John, to prepare them for the ordeal to come, his Passion and Crucifixion. At the center of the painting we find Christ instituting the sacrament of the Eucharist. Above him we see the earth and are reminded of the words, “For God so loved the world that he gave his only son, that whoever believes in him shall not perish but have eternal life” (John 3:16).
The Centerpiece
At the heart of the Luminous Mysteries, Christ is shown establishing the sacrament of the Eucharist. He looks out from the painting, meeting the viewer’s gaze. In one hand, he holds unleavened bread, representing his supernatural body on earth. With the other, he gives a traditional blessing. The Passover meal and a goblet of wine are set before him, and a single rose sits in the center of the table. The rose foreshadows the crucified body of Jesus. Through transubstantiation, Jesus changes the bread and wine into his body and blood, making them both a symbol of his sacrifice on the cross and spiritual medicine for all those in need.
Baptism at River Jordan
The painting shows the baptism at the river Jordan as a cosmic event. I choose to use a surrealistic style to suggest that divine reality is beyond what people can fully understand. In the foreground, God of the Old Testament manifests as a fierce animalistic figure. In the foreground, a baptismal font and a boat float above the river. In the background, John and Jesus are visible, while the Holy Spirit appears as a fiery white dove in the upper left. Through this scene, Jesus transforms the ritual of water purification into a deeper connection with the Christ vibration at the heart of human experience.
At Cana
Traditionally, the wedding at Cana is interpreted as a revelation of Jesus’s glory and as a symbol of the transformation from the old covenant’s water purification rites to the new covenant, represented by the good wine of the gospel. In this narrative, Mary is elevated to the role of advocate and later regarded as the queen of heaven and earth. This event marks Jesus’s first public miracle and serves as a sign to his disciples that he is the Christ. In my depiction, I chose a simplified approach. The circle of water-to-wine forms a mandala that signifies the unity of the Father, the Son, and the Holy Spirit. Mary addresses her son from her heart, and he listens with his head bowed, honoring her as his earthly mother in accordance with the commandments.
Kingdom on Earth
In the lower left corner of the painting, you can see God's hand lifting human souls toward heaven. The Kingdom of God on earth is revealed here. It is not superimposed onto the material world but exists right in front of us and within us. When we align our hearts and minds with God through the Holy Spirit, we become like God and return to our original state before the Fall of Man and subsequent expulsion from the Garden of Eden.
The Transfiguration
The lower right shows the transfiguration. As Jesus realizes his Passion and death are approaching, he tries to strengthen the faith of his chief apostles—Peter, James, and John—by revealing his divine glory and unity with Yahweh. To highlight this moment, he appears with Moses and Elijah, showing that he fulfills both the law and the prophets. A voice from heaven also declares that Jesus is the Son of God. The scene comes together visually with a single line forming a mountain, and the apostles stand together as witnesses to the miracle.
The Sorrowful Mysteries
18" by 24" Watercolor on aquarelle paper, mounted on cradle board.
For any religion or spiritual path to be truly helpful, it must address human suffering directly. Christianity follows this principle as well. The sorrowful mysteries show how Christ faced different kinds of suffering, and they also teach us how to find strength and compassion in affliction. By turning our suffering into a source of love and understanding through the Holy Spirit, we move beyond self-pity and elevate our personal pain into wisdom and insight for the benefit of all living beings.
The Centerpiece
The centerpiece leads us along a garden path lined with opium poppies, opening onto a scene of a state-sponsored execution. Roman justice was harsh and unforgiving. Crucifixion, for example, was meant to shame Jewish rebels, whose bodies were often thrown into a ditch so they could not be resurrected on the day of judgment. Beyond this historical context, the crucifixion also stands for the sacrificial love of God for humanity. Through this change in meaning, our basic nature is transformed into something divine, calling us to find our innate inner purity. In the end, the cross becomes a symbol of reconciliation, connecting the human experience with the divine. It also shows what it means to fully surrender to the grace of God. An eclipse of the Sun appears above the scene. At the same time, crows gather, acting as symbols of evil that contrast with the Holy Dove. Wheat fields appear at the bottom of the painting to represent the bread served during the Eucharist. Grape vines along the left and right edges stand for the wine used in the sacrament.
Garden of Gethsemane
In the upper left corner, I painted the scene of Jesus in the garden of Gethsemane. Here, Jesus appears at his most human. He sits alone, waiting for the soldiers who will soon arrest him, fully aware of what lies ahead. His closest disciples—Peter, James, and John—have fallen asleep while keeping watch. As the soldiers approach, the disciples begin to wake. Jesus has cried tears of blood and asked to be spared from this burden, but he remains willing to follow his father's will. Jesus shows compassion for himself while still being obedient to God.
The Pillar
In the upper right part of the painting, we see the scourging at the pillar. Governor Pilate orders Jesus to be flogged as punishment for the crime of sedition, even though he knows Jesus to be innocent. Pilate hopes this will satisfy the Pharisees and Sadducees, along with the crowd, so they will not demand crucifixion. Flogging was extremely brutal and painful and was often fatal. Despite this, Jesus endures the suffering with acceptance and courage.
Crowning of Thorns
In the lower left-hand corner of the painting, we see the crowning with thorns, where Jesus is mocked by Roman soldiers. They put a crown made of Hawthorne thorns on his head, piercing his scalp and causing great pain. This scene stands for both mental suffering and the strength found in humility: “Blessed are the meek, for they shall inherit the earth.” The soldiers also try to ridicule Jesus by dressing him in one of their capes and handing him a reed as a scepter. Despite their taunts, Jesus looks at them with compassion and remains calm.
The Cross
I chose to include Simon of Cyrene in this illustration of the carrying of the cross. Simon, a Jewish merchant from what is now modern day Libya, was made to help Jesus by Roman soldiers after Christ fell for the third time. The soldiers, growing impatient, forced Simon to assist. At first, he resisted, but eventually he saw Jesus as a fellow Jew and refused to give in to Roman cruelty. This act showed dignity in the face of harsh oppression. Carrying the cross reminds us that we are not alone in our suffering. It shows that Christ is with us when we call on the Holy Spirit to help us transform our struggles into something that can help others who are facing similar challenges.
The Glorious Mysteries
18" by 24" Watercolor on aquarelle paper, mounted on cradle board.
The Glorious Mysteries signify the commencement of a new era. Jesus is depicted as having risen from the dead, personifying the body of Christ and serving as the first risen among many. Above his figure, a full moon reflects sunlight, symbolizing both the unconscious realm and the revelation of previously hidden truths. In the upper right, the ascension of Christ into heaven is portrayed, with the apostles depicted in discussion regarding their future actions. The three Marys – Mary of Magdala, Mary the mother of Jesus, and Mary the sister of Lazarous, – are positioned on the right, while two angels appear on the left. In the right corner, the descent of the Holy Spirit upon the apostles is illustrated, signifying the creation of a new unity among them. The lower left features Mary’s assumption into heaven, carried by Jesus, with her body transubstantiated into a vision of the divine mother in the lower right. This area also presents a reimagined Eve in the Garden of Eden, indicating the acquisition of knowledge of good and evil and the wisdom to apply it, as symbolized by the two apple trees flanking Mary. She holds a Tibetan scepter, representing practice, and a bell in her other hand, symbolizing enlightenment. Her foot subdues the snake, not by crushing its head as in traditional Marian iconography, but by taming the energies of kundalini.
The Centerpiece
The main focus of the painting is the risen Christ. He looks at his own body as someone might after waking from a deep, dreamless sleep, and he views his wounds calmly. On both sides of the path to the tomb, I included Easter lilies to represent purity and rebirth. Roses grow along the old stonework on each side, while the setting moon bathes everything in a gentle, glowing light.
Ascension of Christ
In the upper left corner of the painting, I show the ascension of Christ from a distant viewpoint. The apostles are split into two groups, with Peter between them, encouraging them to unite and follow his lead. On the right, the three Marys watch the scene with reverence. On the left, the two angels mentioned in the gospels also stand as witnesses. Christ appears to be both rising into heaven and moving through a tunnel of light. He goes ahead to prepare a place for his disciples and sends the Holy Spirit in his place.
Day of Pentecost
In the upper right corner of the painting, I depict the day of Pentecost. The Holy Spirit appears as a flowing red light above the apostles. The apostles represent all ethnic groups, races, and creeds. Though initially shown as divided, the Holy Spirit unites them in purpose. This idealized early church contrasts with the real divisions in organized religion. In this representation of the Pentecost I strive to express the spiritual essence of Christianity – divine love, compassion, and tolerance – rather than religious fragmentation.
Assumed into Heaven
In the lower left corner of the painting, I show Mary being assumed into heaven at the moment of her physical death. While this story is not found in the gospels, early apocryphal writings say that Mary was free from original sin and could not be corrupted. Christ comes down to bring her to heaven, which hints at the rapture that will happen at the end of time. Referencing Michelangelo’s Pietà, in which Mary holds the body of Jesus, newly taken down from the cross, I have reversed the scene so that Jesus gently carries Mary into the divine realm.
Queen of Heaven and Earth
The lower right section of the painting features Mary, depicted as the queen of heaven and earth. She is presented as a reimagined Eve within the Garden of Eden, balancing the tree of knowledge of good and evil with the tree of life and wisdom. Unlike traditional Marian iconography, which often portrays the figure crushing the serpent's head, Mary is shown subduing the snake, symbolizing the control of kundalini energy. This imagery is intended to evoke confidence in the power of Mary’s intercession.
The Trinity
18" by 24" Watercolor on aquarelle paper, mounted on cradle board.
“Glory be to the Father, and to the Son, and to the Holy Spirit.”
The Trinity refers to the three dimensions of God. This idea can be hard to grasp, but there are some examples in nature that help. For instance, think about a wave, the ocean, and water. They are all part of the same thing, but a wave is not the whole ocean, and water alone does not fully show what a wave or the ocean is. Wave, water, and ocean coexist as dimensions of one unified phenomenon. Fire is another example. Fire is made of flame, heat, and light. We can talk about these three parts as individual elements, but we cannot, in reality, separate them.
Artists have frequently encountered challenges in depicting the Trinity. Traditionally, the Father, Son, and Holy Spirit are presented in a hierarchical arrangement: the Father is portrayed as an older man with a white beard, positioned above; the Son appears below; and the Holy Spirit is represented as a dove within the scene. In my work, I chose to represent the three aspects of Yahweh as coequal, appearing in three apertures that serve as pathways through which we can understand and connect with God. The boundless ocean and sky behind the Trinitarian figures symbolize eternity. Two planks appear in the air, each bearing carvings of symbols for the four evangelists: Matthew, Mark, John, and Luke. One plank floats above the Son and the other above the Holy Spirit. The Virgin of Guadalupe stands between the planks, watching over the three figures below her. The Greek symbol for King is carved in the wooden frame above the central figure of God the Father.