A phenomenological encounter of the divine

Background

During my honours year at Elam Art School, I studied a thesis by philosopher Walter Benjamin entitled, The Work of Art in the Age of Mechanical Reproduction. Benjamin argued that an artwork lost it’s ‘aura’, or other-worldly resonance, when it was reproduced through photography or technological aid. Benjamin acknowledged that the copy was not the same as the original. This idea intrigued me. Why was the original of more significance than the copy if the two looked identical? By way of exploring the difference between a reproduced image and an original artefact, I began painting my own ‘copies’ of Russian icons (Figure 1). The icon presented a robust basis for analysis. What makes the experience of an original icon more significant than an encounter with a mechanically reproduced copy? The answer becomes exponentially complex and I have continued to explore this proposition.

In the text, Ikon: Inspired Art, Icons from “De Wijenburgh”, the term icon is described as ‘faith made visible’. The author states “a true icon is the product of a creative act inspired by religious faith”(Wijenburgh Foundation., 1981, p. 6). Thus the icon, in orthodox understanding, is intended to mediate worship beyond the natural and into the supranatural sphere. In this sense, the practice of icon painting can be considered a type of paradeigma pointing toward the transcendent. However, the significance of this study is best understood by comparing two conflicting viewpoints. Where it is my contention that the practice of iconography can affirm an awareness of God, Philosopher Jean Baudrillard would argue that iconography discredits the very notion of God by attempting to capture the ‘likeness’ of the divine. In his essay, Simulacra and Simulation Baudrillard warns against the effect of the icon to displace divinity through representing the divine as artefact. According to Baudrillard, it is the very existence of God that is threatened in attempting to materialise divine presence. Therefore, in following the logic of Baudrillard, any imagery depicting the divine requires great caution. 

Historically, the intention of the icon was to usher the viewer into a place of contemplation and reverence; a space of worship and reflection. Initially, the icon was an object to be considered within the context of a holy place. In time, icons were made portable, and in that way personal, so that users could acquire an icon to have in their possession at all times as a transportable reference to the divine. Through my art practice, I have employed components of iconography to entice viewers into an ever more experiential encounter of the transcendent. In conjunction with the static image of the icon I have integrated the olfactory response of a bespoke fragrance to accompany the visual artefact.

Artistic Reference

By way of artistic references, my exploration focused on three icons namely Christus Pantocrator (Figure 2), The Crucifixion (Figure 3) and Christ Enthroned (Figure 4). Each work was chosen for subjective appeal which then led to the development of phenomenological indicators relating to fragrance and context. The language of icon painting in terms of facture and style is rich and diverse. The palette of each icon respectively, is rendered in luminous gold and vibrant hues. The striking use of facture is further developed by way of abstract surfaces painted directly onto display vitrines using the same techniques and materials as traditional icon painting (Figure 5). The idea of further exploring abstract surfaces bridges the gap between the narrative imagery of icons and a more esoteric surface experimentation. The development of abstraction serves also to distract the viewer from religious intensity and offers a playful space to invite integration and investigation of icon and fragrance as product.

Developing iconic fragrance

By way of developing a bespoke fragrance in response to an iconic image, the narrative focus of the icon conveys significance. Each image has a unique story and material aesthetic that can be interpreted to inspire an olfactory response. The synaesthetic exchange between vision and olfaction is fertile research ground. An article published in the American Journal of Psychology entitled ‘Cross-Modal Correspondence between Vision and Olfaction: The Color of Smells’ set out to investigate the scientific phenomenon of sight as smell. Tests were conducted on selected participants in an attempt to verify the cross-modal collaboration of smell and sight. Subjects were given a synesthesia questionnaire in order to determine the resonance of sight with olfactory prompts and vice versa. The Rader and Tellegen test was conducted to characterize the relationship between odor and colour. The evidence from studies suggests that ‘color-odor correspondences exist, and that they are on as firm an empirical footing as cross-modal correspondence, in that they show a similar degree of inter-subject consistency’ (Baudrillard & Glaser, 1994, p. 3). This consistency in research findings warrants more exploration as it suggests that olfactory response to imagery is not merely subjective.

In keeping with the alliance between scent and sight, materiality (or facture) plays a significant part in icon painting. The materials used are symbolic both in colour and placement. Ancient processes have been engaged to extract the pure pigments used for egg tempera. In addition to the rich pigments, the process of surface preparation requires the application of multiple layers of gesso on carefully selected wooden panels. These historic methods of icon preparation begin to center the iconographer by creating a path of contemplation toward an other-worldly awareness.

In addition to experimenting with the material aesthetic of the icon, the development of fragrance requires considerable attention. As such, I worked with perfumer Conan Fee to create a bespoke fragrance to accompany the Christus Pantocrator icon (Figure 2). Conan Fee is a professor of chemical engineering with almost 30 years experience as a university teacher and researcher. He learned fragrance design from Thai-based Perfumers World and now teaches fragrance design to students at Canterbury University. Based in Christchurch, he founded Fragranzi, a perfume workshop/retail space enabling the general public to create bespoke scents using the rudiments of fragrance composition. However, although Fragranzi has succeeded in making the development of fragrance accessible, there are exponential complexities in fragrance composition.

Working with Fee along the lines of the project brief the heart of the fragrance was developed in response to the visceral impact of the icon. The heart represents the character of the fragrance and exploits the narrative aspect of the overall scent composition. The modifier functions by way of decorating, or enhancing the heart notes. Blenders are added to smooth off, or harmonize the composition. Finally, fixatives are added for completion, fixing the image of the fragrance and giving substance and background to the overall impact. With this in mind, considering the complex facets of the icon, the fragrance was compiled by integrating the following components:

Christus Pantocrator

Undeniably, the impact of the overall fragrance evokes a powerful response. In reference to the scriptural verse found in 2 Corinthians 2:15, ‘For we are to God the fragrance of Christ among those who are being saved and among those who are perishing. To the one we are the aroma of death leading to death, and to the other the aroma of life leading to life…’ In this sense, likewise, this scent is not necessarily beautiful, nor is it repellant. It is animalic and human, fleshy and feral. It is Christ as his incarnate self, both man and God. It is also a homage to facture. The cedarwood panel, resonating gold leaf, deep blues and rich reds. It is, to my mind, an image of Christus Pantocrator painted through the nose and composed in one’s imagination. The icon acts as a prompt in which to consider the layers of fragrance that represent the possibilities of real life, lived experiences and memory. In conjunction with the abstracted amateur upon which the fragrance sits, the scent invites an inexhaustible interpretation on behalf of the viewer/participant. It is a polarizing olfactory assault that, at the very least, provokes a destabilization of the senses (Refer to Figure 6).

Christ Enthroned

The next fragrance was constructed in response to the icon of Christ Enthroned (Figure 4). This image speaks of the glory of the resurrected Christ. He sits enthroned surrounded by an oval, emerald sea. Angels or heavenly beings sing his praises whilst the four eschatological emblems of man, ox, eagle and lion emblazoned in red secure each corner of the panel. This icon is a celebration and a triumph speaking to the divinity of the risen Christ. It is unashamedly ornate surrounded in 24k gold leaf, full of rich surface decoration. The fragrance accompanying this image, is similarly rich in fragrance notes. This time construction has taken place at Miller Road in Queenstown. Chosen for the glory of its natural surroundings and the ethos of fragrance ingredients, the Miller Road is a public perfume laboratory. Participants are invited to book 2.5hr sessions to construct their own desired fragrance. Miller Road offers a less ‘scientific’ method than the rigorous formulations of Fee’s technique. As such, the richness of organic product along with the luxury of intuitive design serves best to celebrate this triumphant icon of Christ (refer to Figure 7).

The Crucifixion

 The final fragrance relating to The Crucifixion icon (Figure 3) defies description. Whereas the two preceding fragrances had a semblance of glory, this icon speaks only of horror and atrocity; horror that any human can suffer such an undignified persecution to say nothing of the divine nature of Christ being tortured unto death. As such, I chose not to create a fragrance for this icon, but rather to allow the imagination of the viewer to conjure up associations with the stench of death experienced in daily life. Some smells are too obscene to replicate (refer to Figures 8).

Conclusion

By way of a conclusion, it has become apparent to me that any attempt to provoke a transcendent encounter cannot be mediated through use of smell, abstraction, gold or even by the provocation of an icon. At its heart, an experience of the divine requires an alchemy that remains a mystery well beyond my grasp. However, what I will continue to explore is the generosity of our creator God who, through the incarnation of his Son, has enabled and permitted the possibility of His self-revelation through the utilization of our senses. Thus the revelation of God is mediated by way of our shared human condition of daily experiences informed by smell, sight, sound and touch. Experiencing the phenomenology of sight and scent through icons and fragrance enables the viewer to know God more, or at least to re-consider the possibility of the wonder of his existence.

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