{"id":63529,"date":"2026-08-01T06:54:00","date_gmt":"2026-08-01T04:54:00","guid":{"rendered":"https:\/\/www.omnesmag.com\/?p=63529"},"modified":"2026-08-01T15:14:53","modified_gmt":"2026-08-01T13:14:53","slug":"it-seems-as-if-modernity-has-choked-on-religious-art","status":"publish","type":"post","link":"https:\/\/www.omnesmag.com\/en\/actualidad\/parece-como-si-lo-moderno-se-hubiese-atragantado-con-el-arte-religioso\/","title":{"rendered":"\u201cIt seems as if modernity has choked on religious art\u201d"},"content":{"rendered":"<p class=\"wp-block-paragraph\">While religious art was one of the predominant forms of expression centuries ago, today it has become almost a niche. It raises questions about how to approach sacred themes from a modern perspective without falling into excesses that are either incomprehensible or, on the other hand, outdated. Matilde Olivera (Madrid, 1987) is a painter and sculptor who has created religious works, as well as a significant number of works without this connotation. She is an artist who knows what she is doing and who strives to imbue her art with deep meaning.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A few days ago, Matilde Olivera led one of the workshops at the <a href=\"https:\/\/www.observatoriodeloinvisible.org\/]\">Observatory of the Invisible<\/a>, by Javier Viver. Matilde holds a Bachelor of Fine Arts degree from the Complutense University of Madrid and has studied philosophy and theology at the San D\u00e1maso Ecclesiastical University; she completed her training at art academies in Florence.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">His works can be seen at the Shrine of F\u00e1tima; at the Palacio Los Serrano in \u00c1vila; at the Banco Santander Foundation in Madrid; as well as in parishes (especially his own, San Juan Cris\u00f3stomo in Madrid), schools, museums, and other institutions.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Commissioned works of sacred art constitute an important part of his work. And in his more personal work, he seeks not so much to reproduce exactly what he sees but rather to \u201ccapture the essence that shines through the forms, to find the true character of each motif,\u201d in the words of Rodin. To this end, he draws on both figurative and abstract artistic languages and employs both painting and sculpture.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Centuries ago, the Church set the artistic style for its buildings. Hasn't that modernity been lost to some extent, with a shift toward styles that are either too classical or so avant-garde that their meaning is lost?<\/strong><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">\u2013Yes, I think it\u2019s gone a bit to both extremes. It\u2019s as if the Church had fallen behind in this regard, and now finds itself out of touch and unsure of what to do. Because, on the one hand, it has this complex of wanting to be trendy, wanting to embrace contemporary artists, and embracing what\u2019s happening right now.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">What\u2019s going on? Much of the direction contemporary art has taken strays, in terms of philosophical principles, from the Gospel message. And in my view, they\u2019re completely at odds. A banana stuck to the wall, for example, can never be a medium\u2026 Never, as far as I can tell. There are certain artistic languages and forms that clash\u2014in concept and in essence\u2014with the Gospel and with a Christian understanding of humanity. And also with the very nature of art itself.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>And then\u2026<\/strong><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">\u2013There are many who think that, in fact, that doesn't sit right with them when it comes to creating sacred art, so they stick to what they know and create <em>remakes<\/em>, hackneyed reinterpretations of past styles. It makes no sense to create 18th-century carvings or imitations of the 18th century in the middle of the 21st century. So, it\u2019s as if modernity has gotten stuck. The only one who managed to break free from that stagnation\u2014at least in architecture\u2014was Gaud\u00ed, who is a truly paradigmatic example.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">There are also some truly unique examples in the visual arts in general\u2014in painting and sculpture. People who have managed to carry on the tradition while still being children of their time. That is my aspiration.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I don't know if I'll succeed or not, but that's the direction I've been sensing we need to take. There should be room to be a child of your time, to do things that aren't mere imitations of old styles, while at the same time maintaining a centuries-old symbolic and iconographic tradition that conveys meaning and is recognizable to everyone.&nbsp;<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>I don't know if it's essential\u2014or even necessary\u2014for an artist who creates sacred works to be a believer. What are your thoughts on this?<\/strong>\u00a0<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">\u2013I don't have a very fixed opinion.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">We\u2019ve seen people with tremendous faith and the best of intentions commit truly horrific acts that make you lose your faith. Faced with that, and a work of art that\u2019s well-executed and artistically sound, created by a die-hard atheist, I\u2019ll take the latter. It\u2019s clear that being a believer helps, because you have to understand what you\u2019re doing and put a little bit of your soul into it.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Is it absolutely necessary to be a believer? Maybe not, but you do have to put yourself in the shoes of someone who is a believer. It\u2019s like being an actor. You can play a serial killer without actually being one. You immerse yourself in the role and take on something that, at first, is completely foreign to you. If an artist is capable of embracing a faith they don\u2019t have or of coming to understand it, I think it\u2019s indeed possible\u2014and in fact, it\u2019s more advisable for a good artist to do so.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">An artist who has no ego, who is capable, in his atheism, of embracing the possibility of a faith that is foreign to him. I prefer him to the well-meaning parishioner who does something contrived and corny, <em>kitsch<\/em>.&nbsp;<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Resources are almost always scarce, but might it not be fair to say that, at times, the contemporary Church has been a bit stingy when it comes to the arts?<\/strong><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">\u2013I think that\u2019s a shift in mindset that\u2019s very characteristic of our times. We don\u2019t place as much value on things in the long term. In the past, a cathedral would take centuries to build, and the person who commissioned it wouldn\u2019t live to see it completed\u2014it didn\u2019t matter to him. That doesn\u2019t happen anymore. That\u2019s a shift in mindset.\u00a0<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">It\u2019s also about money. Probably partly out of a sense of inferiority and partly because of what people might say. A parish priest anywhere thinks he\u2019ll end up in all the newspapers because, instead of giving money to the poor or setting up a soup kitchen, he goes and spends I don\u2019t know how much money on building an altarpiece. There\u2019s also a real shortage of funds. There are parishes where the first priority is to fix the leaks. Certain things take priority.&nbsp;<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>You focus on religious art, but that's not all. What is your relationship with secular art like?<\/strong><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">\u2013It depends a lot on how open-minded people are. I don\u2019t really draw much of a distinction between sacred and secular art. To me, they\u2019re pretty much the same. The way I approach a piece doesn\u2019t really differ in terms of execution, the process\u2014anything at all. Even the way I turn it into a prayer is the same. Whether my work is what I offer, or whether my work is meant to give greater glory to God.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">To me, a relief of leaves is no different from a relief of the Virgin Mary. Then there\u2019s the difference in who\u2019s looking at it, and what purpose the viewer sees in it. For me personally, there\u2019s no difference.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A colleague once told me that I\u2019d shot myself in the foot by drawing so much attention to myself, because I create sacred art and at the same time try to exhibit in galleries. They suggested that this would be a handicap, since many people wouldn\u2019t want anything to do with me\u2014because, let\u2019s say, the spearhead of the avant-garde or the art movement is quite opposed to such an openly professed faith.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">But I think it's the other way around.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In fact, saying that I create statues of the Virgin Mary and the saints has actually opened many doors for me professionally. I trust in God and in the commissions I receive, because He sends them to me.&nbsp;<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>You just said that you pray when you're creating a work of art\u2014and not necessarily in a religious sense. Do you pray while you're working?<\/strong><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">\u2013Well, at that specific moment I might not be aware of it; I\u2019m not thinking about the fact that I\u2019m praying, but it\u2019s a bit like what Saint Teresa said\u2014that God is present even in the kitchen. In other words, whether you\u2019re cooking a meal or mopping the floor\u2014it doesn\u2019t really matter what human activity you\u2019re doing\u2014what matters is the love and intention you put into it. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Then you go to Mass and offer up to God everything you\u2019ve done that day. That\u2019s part of your prayer life\u2014in a way that isn\u2019t exactly a conscious decision to say, \u201cI\u2019m meditating while I paint.\u201d No, while I paint, I\u2019m thinking about which color I need to use. I\u2019m turning my work into prayer. That\u2019s why it doesn\u2019t matter to me whether it\u2019s one thing or another.<\/p>","protected":false},"excerpt":{"rendered":"<p>Si hace siglos el arte religioso era una de las expresiones predominantes, en la actualidad ha pasado a ser casi un reducto. Plantea interrogantes de c\u00f3mo abordar temas sagrados desde una perspectiva moderna sin caer en excesos incomprensibles o, por el otro lado, desfasados. Matilde Olivera (Madrid, 1987) es una pintora y escultora que ha [&hellip;]<\/p>\n","protected":false},"author":3218,"featured_media":63530,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":"","_members_access_role":[],"_members_access_error":""},"categories":[36,39],"tags":[],"class_list":["post-63529","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-actualidad","category-cultura"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>\u201cParece como si lo moderno se hubiese atragantado con el arte religioso\u201d<\/title>\n<meta name=\"description\" content=\"La pintora y escultora Matilde Olivera reflexiona sobre c\u00f3mo el arte religioso y el profano se pueden convertir en oraci\u00f3n.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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