Celebrate! - September/October 2002 (Vol. 41, Num. 5)
Light and Worship (Part 2)
Planning the Windows - The Committee Connection
Every church window is a team effort. Church officials and clergy, members of the congregation, donors, architects, builders, stained glass artists and craftspeople all have a hand in the process. The artistic and technical quality of the final product will depend a lot on how well this team works together. This puts an important responsibility on the committee managing the project. However, by being informed and organized, by understanding the challenges and managing the connections between everyone involved, and by making good decisions based on sound information, the committee will be able to complete the process successfully, from initial meetings right up to the final installation.
As a stained glass window is planned, designed and built, the role of the committee managing the process goes through four main phases.
Planning
The first phase, planning, is the time for members to be gathering information, getting organized, and establishing timelines and milestones for the commissioning process. The committee can begin to discuss what kind of window is wanted, what budgetary and other resources are available, and what limitations may apply. They can also begin to plan out the overall process that will be followed, including what method will be used to identify and evaluate artists in the selection phase. By the end of the phase, work responsibilities should be clear, and a budget and preliminary schedule established. The committee can then begin the process of finding the artist or studio to do the work.
Selecting the Artist
The next phase, selecting the artist, can take different directions, depending on the plans made in the first phase. The committee may request a series of individual presentations and choose their artist based on interviews. Alternatively, it can hold an open competition, in which any stained glass artist can send slides of previous work. Once the choice has been narrowed to between two and five artists, these artists should be paid to produce designs for the windows.
Planning: A "To Do" List
- Form a committee or designate a person who has the authority to act for the church (throughout the rest of this article, "committee" will be used to denote whoever is managing the process, recognizing that this may be referring to a "committee of one").
- Determine the decision-making process of the committee.
- Appoint a spokesperson or chairperson.
- Prepare a brief mission statement concerning the windows - this should include their purpose, and their relationship to the worship space and liturgy.
- Identify all of the windows, interior glass screens, and entry ways that will be considered for art glass.
- Set schedules and a budget.
- establish how the committee's information and decisions will be communicated to the wider community.
- Determine the relationship of donors to the decision-making process and how their contributions will be acknowledged.
- If several windows are involved, consider creating a "plan of iconography" - this sets out the subjects of each of the windows, based on a unifying theological framework. Such a plan ensures that the windows' themes are consistent, and work well together.
- Do some research to find what artists or studios are available. Create a list of artists to be contacted.
- Visit other churches to see artists' work, and to help in the discussions of what members want or don't want in their stained glass windows.
- Determine the method of artist selection - i.e. through interviews, holding a competition, etc.
- Send out a request to artists for their CV's, slides, brochures, videos and references, based on previous work. Include information about your project.
- Review artists materials - create a short list of 2-5 artists.
- Prepare a preliminary letter to artists inviting a presentation or invitation to a competition.
- Choose the artist based on the selection method being used.
Frequently Asked Questions
- Who should be on the committee?
The committee should be large enough to have a good range of interests, but not unwieldy. Five to ten people is a good size. It's a good idea to involve the architects (for a new building or addition), clergy or staff with some knowledge about art and design, and representatives of the congregation. The committee should include someone with the authority to make decisions for the church and who will act as chairperson.
While people with previous experience in commissioning art are a useful addition to the committee, many volunteers will be new to it. A willingness to learn and to donate their time and effort can be as valuable as experience. Potential volunteers may be hesitant to get involved with what they fear could be a complicated and time-consuming project. At the same time, they care about what happens to "their" building, and want to have a say in the artwork that goes into it. If those initiating the project are clear about the time and work commitment, they can help allay these fears.
Among the members are usually one or two who have strong personal opinions about art, and their likes and dislikes can have an overwhelming influence on the rest of the committee. It is important for everyone on the committee to look beyond their own personal tastes to see what will best suit the building, and the intended use of the space. A balance of viewpoints among the membership and a diplomatic chairperson can help keep the committee on track.
- Are there alternatives to committees?
The church can elect to use a liturgical consultant or art consultant, or the architectural firm involved in the project to research, screen and present suitable artists. These professionals have usually worked with different artists in the past and are happy to make recommendations. Many architects who specialize in church architecture are now supplying a team of artisans to do the art installations in the building. This arrangement can often be of great benefit to the client and artist alike.
- How much will the windows cost?
In stained glass, as with any building addition, you get what you pay for. A leaded glass window constructed of inexpensive "cathedral" (machine made) glass in a simple, unpainted design will cost a great deal less than a window of the same size that uses handmade glass and incorporates painting, etching and silver staining. There are several reasons for this.
To begin with, the difference in material costs is substantial: handmade "antique" glass is almost five times as expensive as machine-made glass (visually, of course, there is no comparison between the two). Another major factor is the time needed to perform glass treatments such as painting, etching and silver staining. This type of work triples the time needed to make the window. Added to this are the equipment costs for studios that create work with painted, etched and silver-stained glass. To do this work they need kilns, etching and sandblasting booths, and of course skilled workers who can perform these techniques. The committee can get an idea of the approximate cost of the window by contacting three or four stained glass studios and asking for a price range based on the square footage of the window. In doing this the researcher should make clear that the window is for a church. By matching this information with their research on the type of window they want, the committee can establish a fairly accurate estimate of the cost of their window. In dealing with the artist, the committee can choose either to set this figure as the budget for the window, or they can solicit bids from artists, and use the above price as a baseline against which to gauge the estimates.
- How will we pay for new windows?
An important job for many committees is to gather funds, and to make sure that the project will fit within the available budget. The committee can elect to find individual donors or fundraise through the entire congregation. Members will have varying levels of experience in this - and having an experienced fundraiser or publicist on the committee is a bonus. The good news is that people are often happy to contribute towards stained glass, because it is so visible, beautiful and enduring.
One way to ease money pressures is to set up a staged schedule, so costs are spread over time. Another strategy that can make donating easier is to divide the project into sections of varying size, so that people wishing to donate have several contribution levels to choose from.
- What role should the donors play in decision-making?
This is always a delicate issue, as egos are at stake. In dealing with this question, remember that the goal is to commission artwork which will enhance the worship space and liturgy over the long term. To do this, committee members and donors need to see beyond their personal tastes to what is best for the worship environment and most suitable to the style of architecture and needs of the space. It is generally best if the committee can make these decisions in advance, and then open the possibilities to donors.
If a donor insists on taking over the process, or makes unreasonable demands, the committee can seriously consider turning down the donation. While this is difficult to do, the gift of an unsuitable window is not a favour to the church, and the committee may be able to find other funding sources. Memorial gifts are another tricky issue, as there are strong sensitivities around commemoration of the dead ("What would she have liked?"). Again, the committee needs to stick to its plan, unless there are very strong reasons to change it. The conditions of a memorial gift or donation should never compromise the future mission of the congregation.
- Who will decide what style of work is appropriate for our church?
This part of the process is hard work for committees. They are united by the idea that an artwork is needed, but when they begin to discuss what they want, they may find that their respective visions of the work - figurative vs. abstract, what subjects to use, and so on - don't line up. The presence of older stained glass in the space can complicate things further, leading to debates over whether it is better to follow that style or go in a new direction.
Direction from the committee to the artist is important and useful, but if the artist is to produce creative and original work, that direction has to leave room for inspiration. It isn't necessary, or even helpful, for the committee to decide what the window will look like-this is the artist's responsibility. Instead, general guidance and communicating a sense of the congregation's identity is ideal.
A good way to establish a sense of direction is to create a list of characteristics which are thought to enhance the space and reflect the values and spiritual journey of the congregation. Most of these characteristics will in some way answer the question: "What should the window do?" In discussing the role of the window - i.e., to block or attenuate the light, take the emphasis off of an uninspiring view, convey a message, etc. - committees can begin to see how much common ground there is, and thereby move ahead more easily.
The lists of characteristics below were drawn up by three different committees, and reflect how much variety there is in congregations and their needs. Although they are all different, each is a starting point for a design direction, and would be a good initial guide for the artist.
Committee A:
- transparent look, idea of light, nondomineering
- large, light areas without strong patterns
- few realistic elements, not the dominant feature
- simple backgrounds, not cluttered or oppressive
- tending towards modem, abstract style with peaceful quality
- unifying colour scheme or other unifying element
- artistic originality-some reflection of heritage
- dislike-painted faces, extreme realism, busy clutter
Committee B:
- strong, dramatic figures
- artistic originality and expressive faces
- strong, warm, rich colours
- visual expression of historic mission 5. painted details
- block exterior views and modulate light
- dislike-weak colour, weak figures
Committee C:
- gentle, protective and rhythmic forms
- suggestive of plants, waves, environment
- evoke spiritual atmosphere without specific symbols
- delicate, quiet colours-transparent/ translucent glass
- three elements: earth, human and spiritual
- dislike-primary colours, realism, stereotypical symbols
Committee A was from an older church that has almost twenty windows - most of them quite high - surrounding the congregation. It is obvious the intention was not to have "teaching windows," but rather to bring in windows that convey peace and unity, and give the church a beautiful, light-filled environment for worship. The church had fundraised for a few years and chose one artist to create all of the windows.
The second list was from a newly built parish church with a teaching mission. The windows were a strong focal point behind the altar, and had a second purpose of blocking the bright eastern light. These windows were also seen as a message to the wider community and visitors about the heritage and continuing vision of the congregation. The monumental architecture and dark interior suited the style of windows commissioned, and the rich, warm colours fostered the sense of mystery desired.
The third list (Committee C) was from a chapel located in a chronic care hospital. Here, the emphasis was on quiet, healing environments and colours. The artwork that went into this space was a freestanding screen in front of, and visually connected to, a large clear window that looked out to a beautiful view of the forest.
- Who will direct the work?
The main elements of a stained glass project are design, fabrication and installation. The usual role of the committee after selecting the artist is to work with that artist as the design is being developed. The committee chairperson usually acts as the designated contact person between artist and committee. Once the fabrication is under way, the artist will be dealing more with the institution's administration (or the architect and contractor, if the building is new) to schedule visits, arrange for payment and, at the end, to coordinate the installation. In the initial negotiations with the artist the committee should make sure the roles of all interested parties are defined, preferably in writing. This reduces the chance of problems later on.
Choosing an Artist: "To Do" List
- Create list of questions for artists.
- Send out letters to artists with possible interview times or a competition schedule.
- Interview artists.
- Send written confirmation to the chosen artists and thank-you's to the others (return materials at the same time).
- Inform the wider community of the decision.
Questions and Answers
- Should we use a local artist?
A committee commissioning a window should be aware of what is available, both within and outside of their locality. If they are comfortable with a talented local artist, then by all means they should use them! If there are few local artists, or the range of available styles is too narrow, then they should look further afield.
When an artist's studio is some distance from the site, naturally there are concerns about how the committee can view the work in progress, and whether that artist will be as understanding and responsive as a local artist. Nevertheless, there are many ways to keep in touch, including telephone, fax, and e-mail. These work as well across continents as they do across town. A studio visit over distance requires a bit more time and energy, but photos of the work in progress can be an alternative way of keeping the committee posted. Generally, if the committee has hired an experienced, reliable artist, the work and scheduling will go smoothly.
As for understanding the committee's needs, this is really not a matter of geography. Many artists work nationally and internationally. How far afield to look for an artist depends on the size of the commission and the schedule. Large commissions which have a set schedule (i.e., for the opening of a new church) can afford to look further afield. If the commission is small, or will be done over a period of several years, it would be better to work locally.
- What should we expect at a preliminary presentation?
An artist will usually present slides of previous work, describe their approach to design and answer the committee's questions. The committee will want to share with the artist the desired characteristics of the work, timetable, budget limitations and a sense of the vision and the wider community the committee represents. In the presentation, it is important that the artist take some time to describe their training, techniques, and working process.
- Can we request free preliminary designs?
Designing stained glass for a church is a complex process and serious work. It takes into account many factors even as it draws on all of the artist's creative capacity. The design work is in many ways the hardest, the most important, and the most undervalued part of the process. The finest craftsmanship in the world is all for naught without a worthy design to build on. If designing is to be done well, it takes time, and an artist designing original work for a specific building should be compensated adequately. If the committee wishes to have a number of designs to choose from, then it should hold a competition, and pay a set fee for designs.
- What about a young artist or an artist with a slim portfolio?
References and an impressive selection of previous work increase a committee's confidence, and it is usual to expect this from a professional artist. Of course the old conundrum applies: a young artist who has not done many commissions won't have work to draw on, and this makes it harder to get commissions, and so on. There are two situations where a newcomer would be most likely to work out: a small project, or one where the artist works with an established fabrication studio to create and install the work. Everyone needs to start somewhere, and the committee may want to seize the chance to launch a great career.
- What if in the presentation we don't see the window we are looking for?
Sometimes the committee is looking for the exact work that will fit their space, and are disappointed when they don't find it among any of the artist's work. Chances are they will not see a window that perfectly suits their space - because it hasn't been designed and made yet! When viewing previous work, the committee should look to see whether the artist has created work appropriate to the settings and client. They should be asked how their work responded to various settings and addressed the clients' requirements. Previous designs are just an indication of direction and capability; what the committee is really choosing is an artist with the talent to do good work, and the sensitivity and flexibility to do the best work for their particular situation and church.
- Is it important that the artist be of the same faith as ours?
While an artist of the same faith starts with a built-in understanding of the religion, there is no guarantee that their artistic expression of it will be what the committee wants. However, an artist of another faith should be sensitive to and respectful of the faith of this church. They will probably also need further study and guidance. Nevertheless, some wonderful windows and imagery have arisen through an artist bringing new eyes to their client's faith. The first priority is to find an artist whose work is appreciated, and with whom the committee wants to work.
- What is the best way to inform our congregation about which artist we have chosen to do the windows?
One of the most positive and enjoyable ways to share your decision with the congregation is to arrange for the chosen artist to give a presentation about their work. Set this evening within the context of reflection on the nature of light and colour and the medium of stained glass. The artist can introduce their process of working, show slides of previous projects and explain the techniques they use. This meeting often generates interest and excitement about the stained glass windows, and it is best if this presentation is open to anyone who wishes to attend. This is a good time for the artist to interact and meet congregation members before or during the design process.
- We have parishioners who would take advantage of this and tell the artists - in no uncertain terms - how they want the window to look. How should we deal with this?
Commissioned art is a delicate, delicate tightrope for the artist - it involves careful listening to all of the various (and often conflicting) needs and ideas being expressed. Then through careful discernment, the artist finds the real values and qualities that need to be expressed in the work. The committee can be of great value here in expressing who they are as a worshiping community and the kind of qualities (rather than images) they wish to find in the work. It is a sensitive point, but the truth is that it's unlikely that every person in the congregation will be pleased with the windows. It is not possible to create new art that reflects the taste of every individual. Thankfully, the committee's job is not to find art that pleases everybody. That is the difference between this task and, say, choosing an artwork for someone's home. The committee needs to take the broader, long-term view, and commission work that suits their building, enhances their liturgy and addresses their spiritual life. When the congregation views the committee's work in this light, many illusions are dispelled, and respect is accorded to their work.
- We have an artist in the congregation who would like to donate or make the window. How should we handle this?
With care! Perhaps you have a talented, professional stained glass artist in your congregation. Count yourself lucky! It seems only fitting to welcome their contribution or engage them for the commission. If the artist is an amateur, then caution is in order. The reason for this is simple: stained glass windows are meant to be a long-lasting contribution to the architectural fabric of the church. They should be well designed and crafted. Windows made by hobby craftsman often "stand out" in a church - and not in a positive way.
The professional will be knowledgeable about window structure and support, framing, ventilation, and preventing condensation. More importantly, they will have had more experience in designing for a variety of sites, and they are more likely to produce a design that is appropriate to the church.
