Path To Paradise

Path to Paradise is a 2 meter tall drawing that invites viewers to gaze upwards from the center of a magnificent palace, surrounded by figures from Christian iconography. Central to the artwork, and the first element that captures attention, is the open gateway to heaven encircled by numerous small angels. Within this heavenly ring, there is a cross adorned with the Holy Spirit in the form of a dove.

Below the heavenly entrance, two angels hold an icon of the sun, within which God’s face is depicted, gazing judgmentally at the viewer with one eyebrow slightly raised more than the other.

On the right side of the drawing, two angels hold a banner bearing the title “Path to Paradise.” Beneath this banner is the entrance to the palace, which is the same entrance the artist depicted himself in, in his earlier work “End of the Line.”

Here the artist is shown sitting on the floor with one arm and face turned towards Jesus.

On the opposite side is the dark exit, which the artist has rendered to appear mysterious and unknown. Above this dark exit are three signs surrounded by flowers. The sign to the left, pointing towards the Virgin Mary, reads “Alpha” – the beginning. The sign to the right, pointing towards Jesus, reads “Omega” – the end. In the middle, the artist has signed his name, Gimiro, perhaps to signify that he is neither the first nor the last, but merely a part of the continuum, much like humanity as a whole.

Throughout the building, various biblical stories and the 12 Apostles are illustrated. The entire structure stands on a foundation that, while faint, is engraved with the incarnation scene of Jesus’ birth to the Virgin Mary, with two angels offering salvation.

From Gimiro

THE STORY BEHIND PATH TO PARADISE

The Inspiration

I have long been inspired by some of the great old Christian artists such as Hieronymus Bosch, Leonardo Da Vinci, and Michelangelo di Lodovico Buonarroti Simoni.

On July 31, 2023, I visited the Church of Our Lady in Copenhagen and was greatly inspired by the statues of the 12 Apostles and Christ by Bertel Thorvaldsen.

That day, I took pictures of all the statues because I knew I would use them for a future project, which eventually became Path to Paradise.

Planning and originality

After careful planning, I began creating the blueprints in September for what would later become Path To Paradise. I wanted the perspective in the picture to make the viewer look directly up into the sky in the middle of a magnificent palace. My inspiration came from a mix of various frescoes by artists such as Pietro da Cortona, Andrea Pozzo, and Alberto Giovanni.

As an artist, it is important for me to be inspired by others, but I insist that all my work is original and created by me. I photograph certain elements, such as a leaf, a statue, or a foot individually, and then draw them to include authentic objects in my works. It is essential for me to create everything from scratch, as it ensures that each piece is a unique and authentic extension of my thoughts and feelings. By working from the ground up, I have complete control over all aspects of the process, meaning that every detail, every line, and every shadow is a product of my own creativity and effort.

3D Model of the Structure

I have never been good in school, but I have taught myself through creativity, both in drawing and by programming my own game from 2017 to May 2023, entirely without external help. With the skills I have acquired on my own, I created Path To Paradise.

On September 15, 2023, I completed all the blueprints, and I spent 11 days assembling everything in a 3D modeling program on my computer, the same program I used for my previous game. I scanned parts of my blueprints to use them in the 3D model. Everything in the drawing is drawn by me, and everything in the 3D model, which served as my sketch, is either drawn by me or photographed by me.

The Frame

On October 20, 2023, I received the custom-made frame for the drawing.

Three days later, on October 23, 2023, I began drawing after carefully adjusting the paper to fit the assembled frame.

The drawing itself measures 200 cm in height and 140 cm in width. When mounted in its gold frame, the total dimensions are 218.6 cm in height and 158.6 cm in width. With the frame, drawing, back panel, and museum-grade plexiglass, the entire piece weighs 36.4 kg.

Drawing Technique

As an artist, my drawing technique involves placing millions of dots on paper to create the desired image. This method is known as “stippling,” where an image is formed from numerous hand-placed dots. For this drawing, I primarily used pens with tips ranging from 0.05 mm to 0.5 mm, with the finer 0.05 mm pen mainly used for detailed areas such as faces. A broader pen and a 0.9 mm pen were also used to add character to the building, but all figures and other elements were exclusively built with the smaller dots from 0.05 mm to 0.5 mm pens.

To create shadows with this method, I vary the number of dots, using fewer dots for lighter areas and many dots for darker areas. Some areas may appear completely black, but upon closer inspection, they are seen to be made up of dots. And that is what I love about this technique.

The Final Stretch

After 209 days, from the first dot to the last on May 20, 2024, my drawing was finally completed. This period amounted to 325 days since the first photo was taken at the Church of Our Lady, which served as the foundation for Path To Paradise. During these 209 days, I invested between 5-10 hours daily on the drawing, sometimes working from morning till night, and even through the latenight, driven by a deep passion for the project.

This dedication was made possible by the support of my brother and girlfriend, who have been invaluable throughout the process, especially considering my mental health challenges. Despite these challenges, I managed to maintain momentum and keep pushing forward. However, I also allowed myself well-deserved breaks, totaling about three weeks over the 209 days.

These breaks included a short week in January 2024 when I felt exhausted, as well as a week-long vacation with my girlfriend. Additionally, there were scattered days spent enjoying time with my family and engaging in other small activities. These moments of rest and renewal were crucial for maintaining my mental well-being and continued commitment to the project.

STORIES BEHIND THE COMPONENTS

The Opening to Heaven

At first glance, Path To Paradise captures attention with the opening to heaven, which serves as the central element of the entire artwork. Everything points towards this opening, depicted as a ring of clouds surrounding a brilliant white hole leading to the heavens. Small angels hover around the entrance, while a cross crowned with a dove bearing a halo symbolizes the Holy Spirit at the top of the crossbeam.

This is a clear reference to the Gospel of Matthew 3:16-17, where Jesus is baptized by John: “As soon as Jesus was baptized, he went up out of the water. At that moment heaven was opened, and he saw the Spirit of God descending like a dove and alighting on him. And a voice from heaven said, ‘This is my Son, whom I love; with him I am well pleased.’”

The sun

Below the ring, yet still central to the image, an icon of the sun is depicted, carried by two angels. I wanted to portray the sun with a face that seems to judge the viewer, one eyebrow slightly raised more than the other. This clearly symbolizes God’s judgment over humanity.

Psalm 84:11 states: “For the Lord God is a sun and shield; the Lord bestows favor and honor. No good thing does he withhold from those whose walk is blameless.”

In John 8:12, Jesus says: “I am the light of the world. Whoever follows me will never walk in darkness, but will have the light of life.”

In Revelation 21:23, the New Jerusalem is described: “The city does not need the sun or the moon to shine on it, for the glory of God gives it light, and the Lamb is its lamp.”

The moon

In the center above the ring, centrally placed in the drawing, is an icon of the moon carried by two angels. This symbolizes God’s duality as day and night, light and darkness—a theme that permeates the entire artwork. It represents the contrast between light and darkness, which is central to the narrative.

Genesis 1:16-18: “God made two great lights—the greater light to govern the day and the lesser light to govern the night. He also made the stars. God set them in the vault of the sky to give light on the earth, to govern the day and the night, and to separate light from darkness. And God saw that it was good.”

Psalm 136:7-9: “He made the great lights—His love endures forever. The sun to govern the day, His love endures forever. The moon and stars to govern the night; His love endures forever.”

Virgin Mary

At the center of the image, elevated above everything else, stands the Virgin Mary with her palms extended forward. Her gesture radiates an aura of grace and maternal care. Mary symbolizes divine motherhood and represents a source of comfort and grace for those seeking her protection and guidance. Her outstretched arms invite the viewer to come closer and receive the love and mercy she exudes. In her presence, one feels embraced by a divine presence that provides hope and strength during life’s trials.

Luke 1:48: “And the angel came to her and said, ‘Greetings, you who are highly favored! The Lord is with you.'”

The Creation

Beside Virgin Mary, there is an illustration of a globe where a human and God stand hand in hand. Here, I have tried to illustrate the “Creation,” with God creating the earth and the human standing beside Him as an active participant, highlighting humanity’s role as stewards of God’s creation. According to Genesis 1:26-28, humans were given the responsibility to rule over and take care of the earth. The illustration reflects the close collaboration between God and humanity, emphasizing that while God is the ultimate creator, humans play a crucial role in protecting and preserving God’s creation, the Earth.

“Then God said, ‘Let us make mankind in our image, in our likeness, so that they may rule over the fish in the sea and the birds in the sky, over the livestock and all the wild animals, and over all the creatures that move along the ground.’ So God created mankind in his own image, in the image of God he created them; male and female he created them. God blessed them and said to them, ‘Be fruitful and increase in number; fill the earth and subdue it. Rule over the fish in the sea and the birds in the sky and over every living creature that moves on the ground.'”

Moses & Aron

On the other side of Virgin Mary, there is an illustration of Moses and Aaron, both holding a staff. Their collaboration and brotherhood occupy a central place in Christianity, as they performed miracles with God’s power, symbolized by their staffs. These symbols emphasize their close connection to God and their crucial role in biblical history and faith.

Exodus 4:1-5: “Moses answered, “What if they do not believe me or listen to me and say, ‘The Lord did not appear to you’?” Then the Lord said to him, “What is that in your hand?” “A staff,” he replied. The Lord said, “Throw it on the ground.” Moses threw it on the ground and it became a snake, and he ran from it. Then the Lord said to him, “Reach out your hand and take it by the tail.” So Moses reached out and took hold of the snake and it turned back into a staff in his hand.

“This,” said the Lord, “is so that they may believe that the Lord, the God of their fathers—the God of Abraham, the God of Isaac and the God of Jacob—has appeared to you.””

Exodus 7:8-12: “The Lord said to Moses and Aaron, “When Pharaoh says to you, ‘Perform a miracle,’ then say to Aaron, ‘Take your staff and throw it down before Pharaoh,’ and it will become a snake.” So Moses and Aaron went to Pharaoh and did just as the Lord commanded. Aaron threw his staff down in front of Pharaoh and his officials, and it became a snake. Pharaoh then summoned wise men and sorcerers, and the Egyptian magicians also did the same things by their secret arts: Each one threw down his staff and it became a snake. But Aaron’s staff swallowed up their staffs.”

Jesus Christ

At the bottom of the picture, centrally located, Jesus is depicted with his arms outstretched and a shadow falling over him. Inspired by the figure of Christ in Vor Frue Church, created with the assistance of P. Tenerani and later carved in marble by P. Bienaime with adjustments by the sculptor Bertel Thorvaldsen.

Christ stands with his arms wide open towards us but is simultaneously leaning back with the weight on his left foot. He is dressed in a large draped, ankle-length garment that extends over both shoulders but leaves the right side of his upper body bare, where the side wound clearly testifies to his crucifixion, death, and resurrection.

Adam and Eve

Beside Jesus stand Adam and Eve, symbolizing the beginning of human history. Between them is a tree referring to the tree in the Garden of Eden, which the Bible describes as the source of knowledge of good and evil. In front of the tree is a snake, a symbolic image of temptation and seduction, as the serpent tempted Eve to eat the forbidden fruit. Eve holding the fruit and facing Adam can be seen as a moment of decision, where Eve tempts Adam to act against the will of God. This motif reflects themes of human temptation, the fall of man, and the eternal struggle between good and evil.

Genesis 3:1-7 “Now the serpent was more cunning than any beast of the field which the Lord God had made. And he said to the woman, ‘Has God indeed said, ‘You shall not eat of every tree of the garden’?’ And the woman said to the serpent, ‘We may eat the fruit of the trees of the garden; but of the fruit of the tree which is in the midst of the garden, God has said, ‘You shall not eat it, nor shall you touch it, lest you die.” Then the serpent said to the woman, ‘You will not surely die. For God knows that in the day you eat of it your eyes will be opened, and you will be like God, knowing good and evil.’ So when the woman saw that the tree was good for food, that it was pleasant to the eyes, and a tree desirable to make one wise, she took of its fruit and ate. She also gave to her husband with her, and he ate. Then the eyes of both of them were opened, and they knew that they were naked; and they sewed fig leaves together and made themselves coverings.”

Judgment Day

On the other side of Jesus stands a rider on a horse, a symbol of Judgment Day. The Book of Revelation presents a series of visions and prophecies about the end of the world and the return of Jesus. One of the most iconic visions in the Book of Revelation is the description of the four horsemen in chapter 6. Each rider represents different aspects of the calamities that will strike the earth.

Revelation 6:3-4 “When He opened the second seal, I heard the second living creature saying, ‘Come and see.’ Another horse, fiery red, went out. And it was granted to the one who sat on it to take peace from the earth, and that people should kill one another; and there was given to him a great sword.“

I wished to place Jesus in the center of the image, surrounded by these two illustrations, as if he is both the focal point and an integral part of both – the beginning and the end.

The left side

On the left side of the drawing, there are 6 of the 12 apostles, they are:

Peter – In his hand, Peter holds the keys to heaven. I’ve drawn his head so that he’s looking towards Jesus; I wanted him to still hold the keys to heaven in his right hand, but I also wanted him to look directly towards Jesus.

John – He is depicted with a tablet and stylus, in the act of writing his gospel. At his left foot is the eagle, which is his symbol as an evangelist.

James the Greater – Symbolized by the staff in his right hand.

Andrew – With his right hand, Andrew leans on a cross in the form of an X. This alludes to his martyrdom in Greece on a cross tied with outstretched hands and feet.

Jude Thaddeus – His hands are raised in a gesture of devotion. His left arm supports a halberd, which is his symbol as a martyr.

Simon – He has his hands crossed and lowered. His right hand grips a saw, which is his martyrdom symbol.

In the center of the six of the twelve apostles, there is a completely black exit, symbolizing the dim and unknown.

Above the exit, there is a sign, surrounded by flowers.

On the left side of the sign, pointing towards the Virgin Mary, it says “Alpha,” the beginning.

On the right side of the sign, pointing towards Jesus, it says “Omega,” the end.

In the middle, I have signed with “Gimiro,” my artist name, to indicate that I am neither the beginning nor the end, but in between. – This is the first time I’ve ever signed any of my drawings in a visible area.

The right side

On the right side of the drawing, there are the remaining 6 of the 12 apostles, they are:

Bartholomew – The knife in his right hand refers to Bartholomew’s martyrdom in Armenia, where the local king ordered the apostle to be skinned and killed with a knife.

Thomas – The square in the apostle Thomas’s left hand symbolizes Doubting Thomas, who would only believe what he saw when he could measure it.

James the Lesser – With his left hand, the apostle James the Lesser supports a pilgrim’s staff (or club), which has been his attribute since ancient times.

Philip – He holds a cross made of reeds in his right hand.

Matthew – With a writing tablet and stylus, Matthew is depicted writing his gospel. To his right is a winged man, which is his symbol as an evangelist.

Paul – He is shown gesturing with his raised hand in a pose often taken by Christ. With his left hand, Paul holds a sword, his symbol of martyrdom, referring to his execution in the year 62 under Emperor Nero’s persecution of Christians.

Above the entrance, there are two angels holding a large sign with the title of the drawing Path To Paradise in Gothic script.

The Entrance

Amidst the six of the twelve apostles on the right side of the image, a radiant entrance is revealed. This gate is the same as the one featured in my earlier drawing “End of the Line.”

In “End of the Line,” I am moving towards the light wearing a black suit, symbolizing a journey towards the unknown. In Path to Paradise, I am sitting on the edge of the floor wearing the same black suit, with my right hand raised and my eyes directed towards Jesus, with tears in my eyes. It is a moment of deep reflection and spiritual seeking, symbolizing the human quest for grace and redemption.

The Foundation

At the bottom, all the way around the drawing, there is a repetitive engraving in the wall. It is quite faint but it depicts the foundation (of both the building and Christianity) in the incarnation of Jesus’ birth, upon which all of Christianity is built.

Humanity

At the top of the structure, there are 15 small figures scattered around, raising their arms towards the sky. Their small sizes serve as a symbolic expression of humanity’s humility and limitation in relation to God’s greatness and omnipotence.

Psalm 8:4-5 “When I consider your heavens, the work of your fingers, the moon and the stars, which you have set in place, what is mankind that you are mindful of them, human beings that you care for them?”

Final Thoughts

In the first months of working on this project, I struggled to draw without a drink in hand. It wasn’t until I realized that my dependency on alcohol was hindering my creativity that I knew I had to make a change. I made the decision to stop drinking altogether, refusing to let alcohol dictate my ability to be creative.

Upon quitting, I returned to my drawing with a new sense of ambition. I was determined to see this project through, driven by the desire to accomplish something meaningful.

Unfortunately, my mental state worsened during the 209 days of drawing, and im still trying to get better help mentally. However, I have chosen not to pursue help in the form of medication or therapy anymore. Perhaps I will continue down this path until the end, but I would rather die as an artist with a messed up brain than a man who never pursued his dreams.

The inspiration for this drawing came from my mother’s upcoming wedding in August 2024. I envisioned it as a heartfelt gift, symbolizing my love and best wishes for her and her soon-to-be husband.

I never intended to sell the artwork; instead, I hoped to offer it as a gift to someone or something that would appreciate and care for it. My aspiration was for the church chosen for their wedding ceremony to accept this piece of art, knowing it would be valued within its walls.

Thank you so much for seeing this.