Charles was an inspirational spiritual guide as well as an accomplished icon painter, and the world of Byzantine iconography continued to expand for me under his guidance. I drove from Lafayette to Tallahassee in 1994 and took my first workshop with Charles. Charles had studied with Orthodox iconographer Dmitry Shkolnik, and also with Byzantine Catholic iconographer and Jesuit Father Egon Sendler of the Centre d’Etudes Russes in Paris. John Neumann Retreat Center in Tallahassee, Florida. At that time, Charles was teaching iconography both at Mt. She put me in touch with the teacher, iconographer Charles Rohrbacher (New Jerusalem Workshop) from Juneau, Alaska. Angel Benedictine Abbey near Portland, Oregon. At one of Phil’s workshops, I met Fredi Haldors, a delightful lady who had studied at the Icon Institute at Mt. The historic Russian icons, painted in the traditional medium of egg tempera, did not look at all like the acrylic work that I was doing. The more I read and studied about icons, the more I became attracted to the Russian style of icon painting. The JoSonja paints, similar to traditional gouache paints, adapted well to that style of iconography. Phil taught and painted in a Macedonian style. I also began painting icons at home, in acrylics. I took several more workshops with Philip, both at the Antiochian Village in Pennsylvania and at Beckwith Retreat Center in Fairhope, Alabama. I read every book on icons that I could get my hands on - and in 1993 there were not nearly as many books available as there are today. It gave a new focus to my painting and to my life. Taking that first icon-painting workshop opened a new world for me. An Iconographer’s Patternbook: The Stroganov Tradition.The Painter’s Manuel of Dionysius of Fourna.The Icon: The Image of the Invisible by Fr.I read all of them, and the knowledge I gained from those books served me well as I began my studies. John of Damascus School of Sacred Art at the Antiochian Village in Ligonier, Pennsylvania, taught by Philip Zimmerman ( Upon registering for the workshop, I was sent a list of six books to read before the workshop. In June 1993 I attended my first iconography workshop, at the St. I volunteered to go to Pennsylvania, meet the iconographer, and write the article for the journal. They wanted to do an article about him for their publication, and they were looking for someone to write the article. Mark said that they had just learned that there was an icon painter in Pennsylvania painting icons with JoSonja’s line of acrylic paint. At that time, her son Mark was the editor of their decorative painting magazine The Artist’s Journal. In the spring of 1993, I was back in Eureka attending another decorative painting workshop at JoSonja’s. I thought then, “I would love to learn to paint icons - but I can’t go to Greece to study painting.” I was so drawn to that simple image! In 1989 or 1990, I was also struck by an article in the New Orleans Times Picayune about the icons in the Greek Orthodox Cathedral in New Orleans, painted by an iconographer from Greece. One of the workshops I attended was on Russian fairy tale painting, and in the course of that workshop, JoSonja demonstrated her interpretation of an icon of Mary and the Christ Child. In the 1980s and early 1990s, I regularly attended decorative painting workshops in Eureka, California, taught by JoSonja Jensen, an amazing American folk artist who is a master of folk art styles from all over the world ().
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