Sea Voyage of the Magi is a frolicking Anglo-Saxon image painted on a end-piece fragment of Tibetan goatskin. The process of making parchment is highlighted by the ragged edges, not normally used in Medieval Sacred books. I painted the work with an authentic Egg Tempera recipe, with pure pigments mined and ground from the Earth, and applied 24k double gold leaf to create an “ILLUMINATION “. Tiny images called “marginalia” can be seen at the bottom of the scene; marginalia was often illustrated as a way to cover mistakes. If an errant drip occurred, it could not be removed, so the drips were painted over with small paintings. Also, sometimes the marginalia was a way to make political/social commentary in safety, using humor, and also just a way to show imagination in a subject that was highly regulated. Here, the marginalia depicts my favorite imagery, that of fantastical sea creatures and themes.
My own personal wax seal is affixed to every ILLUMINATION.
Sea Voyage of the Magi is a frolicking Anglo-Saxon image painted on a end-piece fragment of Tibetan goatskin. The process of making parchment is highlighted by the ragged edges, not normally used in Medieval Sacred books. I painted the work with an authentic Egg Tempera recipe, with pure pigments mined and ground from the Earth, and applied 24k double gold leaf to create an “ILLUMINATION “. Tiny images called “marginalia” can be seen at the bottom of the scene; marginalia was often illustrated as a way to cover mistakes. If an errant drip occurred, it could not be removed, so the drips were painted over with small paintings. Also, sometimes the marginalia was a way to make political/social commentary in safety, using humor, and also just a way to show imagination in a subject that was highly regulated. Here, the marginalia depicts my favorite imagery, that of fantastical sea creatures and themes.
My own personal wax seal is affixed to every ILLUMINATION.