MADONNA SHRINE - MARIST COLLEGE CANBERRA

On June 4th at the Champagnat Day celebrations at the College, a newly-erected shrine of the Madonna and Child will be blessed by Archbishop Coleridge. This shrine is dedicated to all past and present students of Marist College, 1968 to 2008. The shrine is situated in the College Quadrangle near the bell-tower.

The central bronze panel of the shrine depicts Mary the Mother of Jesus as she looks with love on her new-born babe, Jesus Christ. The Melbourne sculptor, Mark Weichard, who is responsible for the beautiful sculpture, explains that this panel “captures the quiet moment at the heart of every relationship between a mother and child”.

This central panel is supported by and connects the tapered sandstone pillars at the heart of this work. The pillars have the words “earth” and “spirit” on either block. The Madonna appears on the earth side and the Christ Child on the spirit side. The love and devotion of Mary bridges the void between earth and spirit.

On the other side of the sandstone pillars there are quotes from Mary’s song of praise at the Visitation to Elizabeth – “My soul magnifies the Lord and my spirit rejoices in God my Saviour”. Mary embraces the world of the flesh and the way of the spirit. The simple tapered sculpture in the centre is influenced by Aboriginal culture and seeks to acknowledge that Mary’s influence is alive and well in our land Australia.

Around the shrine are a number of stone blocks with stainless steel signs indicating some of the characteristics that one would hope Marist students possess. These would include love of work, walking in the way of Mary, and family spirit. The blocks are arranged in a circle which signifies the path of life. They are meant to be ‘pause’ places where one may sit, reflect and pray.

A lady staff member who has two children recently viewed the central bronze panel of the new shrine showing Mary and Jesus together away from the tumult of the outside world. This teacher expressed herself as follows:

“When a mother first gazes into the eyes of her newborn babe she becomes totally absorbed. Everything becomes quiet and still. She feels such a powerful connection with the child that nothing else matters. She experiences an intense and overwhelming urge to protect and nurture the child. One of the greatest gifts God can give a mother is the bond between her and her child.”

Mark Weichard in this beautiful sculpture has certainly captured the intensity of this moment.

ARTISTS STATEMENT

PLACEMENT

The placement of the new shrine within the context of an established private quadrangle near the centre of the school building complex, sets a tone both of quiet simplicity and formal structure. My task was to use this opportunity to explore the nature of Marist Spirituality and to create a sense of the sacred within this enclosed, but bustling square at the centre of College life.

In response to the imposing architectural spaces and bell tower that borders the area, a major part of the sculpture needed to read visually as an extension of these existing forms and the contained negative spaces and proportions within the covered walkways that border this internal garden space. In the end, however, the proportions of the work were governed by the viewing height of the younger students who traverse this part of the school on their way to and from classes. It is they who are beginning their journey into their education and their personal development. As they grow and mature, the work is intended to encourage them to explore the nature of Marist Spirituality, and it is they who need these spiritual matters acknowledged and solidified within the folds of a contemporary formal artwork.

THE WORK

Every artwork needs a theme or concept which will drive the piece through it's long journey from conception to realisation. For me, having now worked with the Marists on a number of projects, I wanted to explore the nature of the central plank of their spirituality, devotion to the Madonna. This vision of spirituality glimpsed in France by Marcellin Champagnat so long ago, is still alive and well today and fuels a worldwide organisation devoted to the education of young people. The concept behind this sculpture was to explore the duality of this devotion. First, the physical reality of the deep and abiding connection between the mother and the child and secondly, the nature of a spirituality based on this devotion represented by the sculptural abstract form within the work. The physical reality is explored and acknowledged in the cast bronze panel, this captures the quiet moment at the heart of every relationship between a mother and her child. The hand connects, guides and caresses, the gaze fixed for all time as they connect across the void of the background. This internal womb like shape is surrounded by the `visual noise' of the earth lines which for me represent the outside world; sometimes calming, sometimes stormy and tumultuous. On one level this is a private moment which we look at from outside, yet on another level, this is the connection the Madonna also shares with each of us. Guiding, always caring, protecting and strengthening our resolve to cope with the constant challenges of a life well lived. Her gaze locks onto and connects with the Christ Child as well as all who seek her guidance and help.

The panel is supported by and connects the tapered sandstone pillars at the heart of this work. They have the words `earth' and `spirit' engraved onto stainless steel panels on either block. The Madonna appears on the earth side, the Christ Child on the spirit side. Her devotion and love bridges across the void of this gap, connecting these two pillars which represent these concepts of flesh and spirit which we believe book-ends our lives. The panel appears to float suspended just above these two worlds. The abstract sculptural element on the other side, representing the quiet nature of Marial Spirituality, physically connects both these elements together as a living symbol of our spiritual nature. The Madonna shows us the way in the deeds of her own life captured within the beauty of the Magnificat. The selected quotes engraved into the stainless steel panels acknowledge the grandeur of her commitment to ideals beyond her immediate understanding. They show her undertaking as a young woman a great journey as she agrees to a life that embraces both the world of the flesh and the world of the spirit, the world of understanding and the world of complete faith. This simple tapered form is also influenced by Aboriginal culture and seeks to acknowledge Mary's spirit alive and well in this country.

THE JOURNEY THE WAY OF MARY

Because this is essentially a 'private' artwork, commissioned for a school community and not on public display, I have had the benefit of assuming a certain level of knowledge within the audience of young people who pass by her every day of their school life. The sculpture in the inner circle calls on the viewer to contemplate the great journey Mary was called to undertake and the act of love and faith this required from a young person beginning their adult life. The outer circle, marked by the stone blocks and engraved words of the five tenants of Marist Spirituality are arranged as pause spaces and invite the students to embark on the same great journey as they prepare for adult life. The blocks are set into the outer circle around the central artwork creating a corridor and pathway that extends the 'sacred' space contained within the inner circle. This is the way of Mary, a journey we are all invited to take; a journey of the spirit we are all invited to share. Because of the central placing of this work within the enclosed courtyard and the number of times it will be passed each day by the students, I have opted for a visually quiet and thoughtful artwork which will hopefully influence these young people as they go about their daily routine within the college. In the end, I hope they form a relationship with this work that will allow it to remain an echo In their memory as they enter and face up to the challenges of a full adult life.

Mark Weichard April 2008

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