Page 28 - Arts Management Magazine Future Issue

Similarly, below in The Martyrs, Omiros again shows us a composition with tiered Biblical scenes in the
same painting, the glorified Christ on his throne, arrayed in a white so dazzling and pure that we recall the
Transfiguration as well as the visions of the Son of Man recorded in both Testaments. Omiros, endlessly
inventive, fashioned what he called a “roto-brush,” by attaching a paintbrush to an electric drill. Said device
may be how he achieves the rays of paint that emanate outward and upward from the Throne itself. These
directional flecks of paint enhance many of his Byzantine works, adding to the centrifugal energy radiating
from Christ, the spiritual anchor of these intricate compositions.

The Martyrs, acrylic on silk. On exhibit at the Atelier Omiros in Bedford, NY.

Vibrant teal blue pools at the feet of the Lord seep downward, enveloping most of the “cloud of witnesses,”
extending even beyond the boundaries of the canvas. This heavenly hue embraces—or glances off – each
figure, even those who are committing violence. Nothing escapes the notice of this attentive Christ, whose
gaze bends down in concern for those who love him, as well as for those who do not.