Icon of Christ the King of Glory

Making a Traditional Icon Panel

January 27th, 2018

Working with wood to make a panel remains something I love about making traditional church icons. Maybe it’s the smell of the cut wood, which… Read more

Woad Blue

November 16th, 2017

It seems to me that all blues are the colour of the air—and this is certainly the case for woad blue. As the fall season… Read more

Local Colour in Icons

June 15th, 2017

Yesterday an article of mine appeared in the Orthodox Arts Journal entitled, “Local Color in Icons”. The piece is a reflection of how living in… Read more

Saint Andrew: Membrane

April 20th, 2017

A new icon of Saint Andrew is underway. Over the past couple of weeks I’ve researched, and worked out the drawing. With the board made and the… Read more

Iconography Workshop in Waterloo

February 6th, 2017

Weekly from Wednesday, March 22nd, 2017 until Wednesday, May 31st, 2017 Doors open at 6:30pm, class runs from 7:00pm to 9:00pm in St. Mary’s Coptic Orthodox Church’s… Read more

Making an Icon Talk in Waterloo

January 12th, 2017

Friday, February 24th, 2017 at 7:30 pm Great Hall at Conrad Grebel University College All are welcome for this public talk. Over the years, I’ve… Read more


Symeon’s icons are a hymn of praise, drawing as they do on the local palette of each region of Canada, they calls each of us to a deeper regard for our fragile world, a deeper attention to the Holy Spirit who, “is everywhere present and fillest all things.”

—Fr. David J. Goa

Icon of Christ the Pantocrator

About these Icons

A long time ago, a monk handed me a palette knife and told me to come and learn to paint icons. I accepted his call, and today work as a full-time iconographer.

The icons made in the Conestoga Iconographic Studio represent a vision of Orthodox icons for the New World.While drawing deeply from the rich tradition of Eastern Orthodox iconography, their aim is to create a contempory vision for prayer in the Americas. As such they embody an innocence, candidness, and joy. These icons are more stylized and flatter than those of other schools—lines are bold, colour’s frank, and clothing rendered in a simple geometry.

All the materials I use in making an icon come from the land—my pigment colours most often being found around the village of Conestoga where I live and work. Foraging from the soil, plants, and animals, I take what I harvest and create a testament to the love of God which energizes the whole earth.

I make icons for churches, missions, and homes, offer workshops coast to coast, and regularly present on my iconographic work.

Icon of Saint Stephen the Protomartyr