In 2002, after a conversion from evangelical Protestantism to Eastern Orthodoxy in 1999, I felt an inner calling to carve Byzantine icons from wood , but not to paint icons. I had never carved wood before, and I began in a modest way, and found that I had an aptitude for the medium. Iconography as a medium of art is for the redemption of art. In my modern American world art is too often an artistic 'selfie', and reveals nothing of the content of reality or of truth, or really, of beauty. As a young man I had shown some aptitude for art and impressed some people, but the things I did always left me empty, and my motivations were always to gain the praise of people, and that made me sick. So, I never developed my art in any serious way. It also reflected an implied theological conundrum. If spiritual reality could only be revealed through propositions in Scripture, then there was no possibility that art could be a medium of revealing truth, and so could only be considered idolatrous. But the theological shift from evangelical Protestantism to Orthodoxy involved a change in what revelation was and is, and how we may experience God. This theological shift is embodied in the place of icons in Greek Orthodox Catholicism. Icons are windows into heaven, and are believed to be another form of Scripture, and Scripture another form of icon. Scripture is perceived as a verbal icon, and icons are consider painted Word of God. In Orthodoxy revelation is not a creature, such as a formal proposition, or an object such as a statue, but is transrational and non-created. Due to the nature of the relationship of the Uncreated to the Created, revelation may be revealed through matter, through Words, through pictures- icons. Hence, the production of icons by carving, is a redemption of art for through the icons, it is possible to reveal the Uncreated, not according to the Essences of the Uncreated but according to their Energies. In Orthodoxy a distinction is made between the Essence of God which is Unknowable and the ground of His Transcendence, and His Energies, which are knowable and particible, and synonymous with Grace, and Salvation. So, in the carving of icons, was given me the possibility of the redemption of art. I live in a small isolated rural community and so I have been self-taught. In the past year I have produced a couple of carvings more in the Western naturalistic tradition, but with an iconic intent. The most recent is that of St. Thomas More, a carving that I was led to do and give to Justice Antonin Scalia of the U.S. Supreme Court just prior to their deliberations on the issue of changing the Traditional definition of marriage by a political means. It was meant to encourage him as a Catholic Christian in begin faithful to Nature and the Nature's God. Orthodox iconography follows the firm guidelines of the canons of the Undivided Orthodox and Catholic Church which opposed 3D sculpture on grounds that it too closely resembled the prohibited graven images of the Old Testament. Orthodox icons reflect a particular view of salvation. Salvation is the transfiguration of our nature, so that it becomes uncreated. As many of the Fathers have said, 'God became a man that we might become god.' Salvation in Orthodoxy is not the perfection of nature, as is implied in the naturalistic Christian art that emerged in the West at the time of the Renaissance. In the canons of the Undivided Church, depiction of the Father is never permitted, because we have never seen a similitude of the Father. The perspective in Orthodox icons is often reversed with the vanishing point being at the viewer, causing us to gaze on the greater reality within the icon. In figures, none but apostates or devils are seen in profile, the eyes and ears are larger than in life, the mouth smaller. The sensual elements are muted or blunted as there will be neither male or female in heaven but we shall be as the angels. The absence of smiles on the figures, beckons to the deeper Inner Stillness of Hesychastic contemplative prayer. My early experience of icons was quite creation-bound. They were simply unusual, yet intriguing and beckoning paintings or carvings. As time went on, particular icons drew my attention, and began to be a "Word of God" to me. After a greater lenght of time, the Light of God that cannot be seen but can be seen began to be apparent through them and in the presence of them, and the presence of the great Cloud of Witnesses the Saints, began to express itself with greater and greater reality. Uncreated Grace began to express itself with more and more depth and wonder.