A timeless vision for the modern world

To many people, the word “apocalypse” conjures images of catastrophe. In the Christian tradition, however, it means an unveiling or revelation. 

That understanding lay at the heart of ‘Apocalypse: Icons and Art’, a recent exhibition by Australian iconographer Michael Galovic at All Saints’ Anglican Church, Hunters Hill. 

“The purpose of the Apocalypse is to unveil hidden divine realities, provide hope during times of crisis and assure us of God’s ultimate triumph over evil,” Galovic says. 

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The exhibition’s centrepiece is The Last Judgement, known in the Eastern Christian tradition as The Terrible Judgement or The Dread Judgement. 

Rather than creating a new interpretation of the subject, the Serbian-born artist has produced a contemporary rendition of one of Christianity’s oldest and most demanding iconographic traditions. 

According to notes supplied by Galovic, the fully developed Last Judgement icon reached its artistic maturity in 16th-century Russia, although the tradition extends back to early Christianity. Monumental frescoes on the same theme are also found throughout the Orthodox world, particularly in Serbia. 

Drawing on the Book of Revelation, Genesis, the visions of the prophet Daniel, Christ’s parable of Lazarus and the rich man, and Christ’s teaching on the Last Judgement, the icon presents the whole drama of salvation history. 

At its centre sits Christ enthroned within a radiant mandorla, flanked by the Virgin Mary and St John the Baptist who depicted as interceding for humanity.  

Surrounding them are the apostles, angels, prophets, the resurrection of the dead, Paradise, Hell, and a great serpent that symbolises humanity’s struggle with sin. 

The result is visually overwhelming and viewers, Galovic says, often spend long periods simply looking at it. 

“There’s so much in it and when I first encountered these icons, I didn’t understand them either,” he says. 

“But I was attracted by the artistry, the craftsmanship and the creativity.” 

He later studied the theological and cultural traditions embedded within every figure, colour and symbol, and says he was captivated not only by the deeper meanings but by the astonishing artistic achievement of the Russian iconographers. 

“I was absolutely blown away by their creativity. They had no heating, no electricity, no proper light in these old monasteries. How could they possibly come up with something like that?” 

More than three decades working in large part in sacred art have also transformed the artist’s understanding of his own vocation. 

“There’s an old saying among iconographers: At first a man paints icons. Then icons paint icons. Then icons paint the man.” 

Asked what advice he would offer other Christian artists, writers and designers, Galovic offers thoughts about integrity and legacy. 

“Whatever you do, you can always make shortcuts. Maybe nobody else will know, but your own conscience knows.” 

As he enters what he considers the prime years of his career, he says he wants to make the best use of the gifts God has given him. 

He also hopes The Last Judgement will eventually find a permanent home in a church, school or other faith-based institution where it can remain publicly accessible and continue serving its original purpose as an aid to prayer, contemplation and catechesis.