Mosaic
Buon Fresco
The medium of BUON FRESCO, through its aesthetic appeal and its long and venerable tradition in liturgical settings, stands as a symbol for the beauty and permanence of the Church and the continuity of the liturgical practice over the centuries. When executed properly, fresco has a beauty, depth and luminosity of its own independent of its stylistic and thematic motif. Wether majestic or humble, figurative or abstract, the fresco confers integrity and a quiet strength to the space it inhabits. Additionally, fresco is a fitting medium for an environmentally conscious generation: no solvents, glues, or man-made materials are used, it is fully breathable and will never get mold or bacteria.
In buon fresco the image is painted directly on the wall, on the wet skin of the plaster. As the plaster cures, the lime crystalizes around the pigment particles bonding the paint permanently to the plaster surface. The design of the composition is only one step in a long process. It is followed by multiple color studies on paper, small fresco samples, real size cartoons and tracings. In the meantime, the wall is prepared with a substrate of rough plaster. Next, the artistic team transfers the composition onto the dry plaster and paints it in 'sinopia' or red paint. This ébauche will later serve as a map for dividing the wall into 'giornatas' or 'frescoing' days.
We use the highest quality lime, locally mined sand whenever possible, and natural pigments, a variety of earths from different parts of the world, minerals such as malachite, and semi-precious stones such as lapis lazuli.
As much as the project allows, we like to involve the community through educational programs at the work site in the form of lectures, workshops, and internships.


egg tempera/iconography


ST. KATHARINE DREXEL CATHOLIC CHURCH
Frederick MD
egg tempera
Size: 4'x8'
DOMINICAN HOUSE OF STUDIES
Washington DC
egg tempera
Size: 4'x8'
"Ioana’s passion for icons helped me understand how they are not simply beautiful objects, but, as she described them, 'windows to the soul.' She explained how there is always a deeper meaning to be found behind the icon, just as there is always a deeper meaning to be found in our faith. Her understanding about the difference between an icon and a portrait was fascinating and echoed Cardinal Ratzinger’s suggested movement in images. She observed that an icon goes further than a portrait, that 'it brings you back to yourself and back to God.'” E. Steel, PhD Candidate, Princeton Theological Seminary

Manuscript Illumination

Crucifixion
Tempera and 24k gold leaf on calfskin velum
Size: 9" x12"

Mary the teacher
Tempera and 24k gold leaf on calfskin velum
Size: 9" x12"
stained glass

HOLY SPIRIT WINDOW
Mary Queen of Angels Chapel
Seton High School, Manassas VA
Artwork by Ioana Belcea
Cartoon design by Audery Garett
Vitreous glass painting by Kari Ackerson
Fabricated at the Beyer Studio, Philadelphia PA