Current Exhibition

October 24th- November 29th, 2020

-Make an appointment here-

East St. Elmo road dead ends at the front door of the gallery, and West St. Elmo road hugs the south end of our building. Saint Elmo is the namesake of the neighborhood, and many businesses in the area. We thought we might offer up a tribute show to St. Elmo, for his feast day on June 2nd.


An exhibition was planned, along with a neighborhood-wide block party. Then the Covid-19 pandemic erupted in March.  We thought the best time to reschedule this exhibit would be inclusive of All Saints Day on November 1st, to channel all of the characters represented in this exhibit.

Saints & Intermediaries is a visual conversation about the role of spiritual intermediaries in our modern society. Who are the representatives of the Divine in our times? What has happened to the traditional Saint characters over the years, what are their stories? Have their purposes and uses changed? Why would we need an intermediary instead of talking directly to God (or the secular object of our worship)?

7 Austin artists explore these ideas through their mystical works:

Elizabeth Chapin

Emma Hadzi Antich

CP Harrison

Meena Matocha
Hayley Morrison
Saul Jerome San Juan
Meghan Shogan

We invite you to explore this exhibition virtually- on this website and on Instagram (@vaultstoneshop)- and in-person in the gallery via safe, limited appointments.

This project is supported in part by the Cultural Arts Division
of the City of Austin Economic Development Department

Scroll for the Full Catalog:

                                                                                        1.) Emma Hadzi Antich

                                                                                             ‘Mountain #1’
                                                                                              Acrylic on board

                                                                                              23” x 22”



“By blending Byzantine iconography with contemporary symbolism, my paintings draw attention to one significant similarity between the two eras. Both the Byzantines and postmodern Westerners focus on a one-sided and incomplete conception of the human creature. The Byzantines were myopically concerned with the fate of soul at the expense of the body. And we are obsessed with the material world to the detriment of our souls. Neither approach allows for a fully dimensional flourishing. 
            These triangle paintings are an attempt to depict a broader understanding of the characteristics that make us human.  I have discarded the halo and opted for the equilateral triangle as a better symbol for a more complex conception of human nature.  We are three-parted: mind, body, and soul.  The equilateral breaks us out of a binary understanding of ourselves in which one side can be suppressed or suffocated. 

Laid next to each other, triangles become a mountain range, a reminder that though there is low within us, there is also the high.  Mountains remind us that nature contains transcendent heights and devastation lows.  Their peaks puncture the horizon and force our perspective upwards.  We look up inside ourselves.  These triangles give us dimension.  And as triangles have done for many cultures of many ages, they provide us with portals to our truer selves.”  -Emma Hadzi Antich





                                                                                         2.) Meghan Shogan

                                                                                              ‘Dear Saint Joseph, Sell my Condo’

                                                                                               Limestone, wood, metal,

                                                                                               charcoal, dirt, plants.

                                                                                               25” x 24.5”




“In the Middle Ages a strange tradition was born, known as the “degradation of the Saints.” Instead of praying to a Saint for help, it was customary to threaten and torment their image until the person’s request was granted. For instance, Saint Joseph would remain buried in the yard, upside down, until he sold the house, which would be done as quickly as possible to escape his uncomfortable position. To sell a condo or apartment, one would bury a figure of Saint Joseph in a symbolic jar of dirt.”

-Meghan Shogan





                                                                                   3.) Hayley Labrum Morrison


                                                                                       Mixed media on panel

                                                                                         16” x 20”



“This piece addresses the Mormon idea that women communicate with and receive revelation from God through men, whether it be through their husband for their families, their bishop for their congregation, or their prophet for the entire church. Even in the most sacred of Mormon spaces (the temple), women rely on their husbands to intercede with god on their behalf." -Hayley Labrum Morrison





                                                                                                       4.) Meena Matocha
                                                                                                            ‘A Prayer in Times of


                                                                                                            Charcoal, ash, soil, sumi

                                                                                                            ink, and cold wax on panel
                                                                                                           36” x 48”



“The wash had dried, layered with sumi ink, water, soil and ash, and was darker than my previous pieces’ had been.  As it goes in the creative process, I couldn’t figure out if that was done on purpose or if it was a mistake.  After sitting with it for a few days, I decided it was on purpose.  I sat, stared, prayed and repeated this for about a week, charcoal stick at the ready in my hand.  What was the imagery going to be?  Explosive?  No.  Emotive?  No.  “Well, I’m angry,” I thought.  But nothing came out of the anger.

     As the forms danced on the panel in and out of the wash, it quieted.  It stilled.  As I drew, the calm and peace of humanity, ordinary saints engaged in a sacred ordinary embrace, emerged.  Touch.  Sensuality.  Physical affection.  Warmth.  Attachment.  Comfort.  Consolation.  In my anger and grief, that’s what I really want to see.  That’s what I really long for.  It feels far away, out of reach, behind a dark veil barely visible, but it’s still real. It’s my prayer in this time of isolation.

     I paint with charcoal, ashes, soil, and wax to create pieces that capture the uncomfortable tension between joy and grief, life and death, and the eternal and temporal—these opposites that exist in the same breath, within the same body. As human beings seek ways to live and thrive through this tension, I’ve found the art created in community to be an act of loving transgression, a living protest against death, which moves humanity toward expected hope, life of the world to come and as it could be now.”  -Meena Matocha






                                                                                         5a.) Saul Jerome San Juan
                                                                                                ‘Saint Elmo’

                                                                                                Egg tempera and metal     

                                                                                                 leaf on panel

                                                                                                 20” x 16"


                                                                                        5b.) Richard Ashby
                                                                                                Acrylic on panel

                                                                                                10” x 8"





                                                                                       5c.) Thomas Cook

                                                                                              Oil, metal leaf, & wood

                                                                                              veneer on panel

                                                                                              10” x 8"



                                                                                    5d.) Jeffrey Primeaux

                                                                                            Acrylic on panel

                                                                                            10” x 8"


                                                                                     5e.) Erika Huddleston
                                                                                             Oil on panel

                                                                                              10” x 8"



                                                                                       5f.) B. Shawn Cox
                                                                                             Acrylic, gold leaf, mixed media

                                                                                             on panel

                                                                                             10” x 8"


                                                                                    5g.) Valerie Chaussonnet 

                                                                                           Acrylic on panel

                                                                                           10” x 8"

                                                                                            not for sale


“June 2 is St. Elmo’s Day. Saul Jerome San Juan was asked by Vault Stone Shop to make art in response to the namesake of the road meeting Congress Avenue at the complex where the gallery is located. Inspired by the evolution of St. Elmo’s verbal and visual depiction San Juan discovered in researching the saint, the artist invited other artists to collaborate on an experiment on the generative power of making images on the understanding and translation of narrative information.

     St. Elmo is the patron saint of sailors and abdominal pain, including the pain of women in labor. The seeming incongruity between St. Elmo’s two patronages resulted from misreading the object he was depicted holding from his earliest iconography. At some point in history, convention began assuming that what he was holding indicated the way he died as a martyr, a specific manner of martyrdom making him empathetic to the plight of those who suffer from abdominal pain. What convention began interpreting as St. Elmo’s disemboweled intestines wrapped around a spindle was originally intended to represent a ships’ ropes wrapped around a windlass to denote his patronage of sailors. As bishop and preacher, St. Elmo’s life was tangentially if at all related to a sailor’s vocation. Sailors looked to him for protection due to an early story in which he kept preaching unfazed even as lightning struck the ground next to him, demonstrating bravery in the face of a force of nature feared by sailors.

     Thus story begat imagery which in turn begat story; in a sense, in the continuing elaboration of a saint’s story and role in meeting human wants, art allows the saint a continually active earthly existence to meet their role in mediating between the particulars of the everyday and the vastness of the sublime.

    With the permission of artist Izzy Kovalevskaja and Brave Mysteries Recording Company, San Juan made an egg tempera painting based on Kovalevskaja’s monochrome line drawing of St. Erasmus of Formia (another name for St. Elmo), one of a set the Wisconsin-based musicians commissioned the Norway-based artist to illustrate their album Communion of Saints. San Juan’s process recalls the tradition of writing icons in the Byzantine tradition, which often begins with a line drawing taken from a pattern book. Richard Ashby and Thomas Cook then painted their own versions of San Juan’s painting without seeing Kovalevskaja’s original line drawing nor knowing the name of the saint to be able to research him, knowing only that the saint is a martyr of a sort, thus relying largely on visual information in the generation of their own paintings. Jeffrey Primeaux and Erika Huddleston then painted from Cook’s painting without seeing the prior iterations by the other artists, followed by Valerie Chaussonnet and B. Shawn Cox painting from Jeffrey Primeaux’s painting. The project then is like a game of telephone, in which information mutates from one generation to the next, due to the varied properties of the different materials used by each individual artist, the subjectivity of purely visual interpretation subject to the artist’s preconceptions, or deliberately playful creativity in interpreting their immediate source.” -Saul Jerome San Juan






                                                                                    6.) CP Harrison
                                                                                        ‘Barbara Since”
                                                                                        Mixed media collage

                                                                                        12” x 15”



“ 1969 the Catholic Church decided to lighten up it's liturgical calendar and make changes to the list of Proper Saints and their corresponding Feast Days, in essence demoting saints who had been venerated & called upon by the faithful for centuries. What became of these Saints? Did this change curb the onslaught of request for their intercessions? Was their past patronage now less valid? The Since series explores these icons, trapped in time and wrapped with the residual request and layers of lost, peeling prayers that have surely piled up since then.”   -CP Harrison








                                                                                 7.) Emma Hadzi Antich

                                                                                      ‘Mountain #2’
                                                                                      Acrylic on board

                                                                                      23” x 22”



8.) Emma Hadzi Antich                                     9.) Emma Hadzi Antich

    ‘Mountain #3’                                                    ‘Mountain #4’
     Acrylic on board                                               Acrylic on board

     23” x 22”                                                             23” x 22”

     $600                                                                    $600








                                                                               10.) CP Harrison
                                                                                     ‘Dorothy Since’
                                                                                      Mixed media collage

                                                                                      12” x 15”












                                                                                     11.) CP Harrison
                                                                                            ‘Margaret Since’
                                                                                            Mixed media collage

                                                                                            12” x 15”





                                                                                  12.) CP Harrison
                                                                                         ‘Christopher Since’
                                                                                          Mixed media collage

                                                                                          12” x 15”





                                                                                                   13.) Elizabeth Chapin
                                                                                                        Video loop of ‘Ultralight Beam’

                                                                                                        Acrylic on canvas stuffed with                                                                                                          poly fiber, yellow mirrored

                                                                                                        plexiglass, steel

                                                                                                        96” x 120”

                                                                                                        All inquiries via the artist





“The work, Ultralight Beam, continues to use Chapin’s method of incorporating mixed media on 3D canvas, set against the backdrop of a Kanye West concert. While West is a contradictory and polarizing figure,  few people expose Chapin to her own anger, anxiety, and addiction so viscerally. There is a worshipful and unilateral quality to his music, a lush spiral of chaos and love. West’s white fans (in this case, Chapin’s son and friends) worshipfully consume his music, without sacrifice or full comprehension. There is an obvious, yet complicated irony, and as a mother, who is trying to make sense of herself, her son, and the ongoing anesthetic of privilege in the world, the irony becomes punctuated for Chapin. Re-enacting van der Weyden’s pose in the Deposition of Christ, Ultralight Beam is a manifestation of devotion, white privilege, maternal loss, drunkenness, chaos and fear.” -Elizabeth Chapin







                                                                                                                  14.) Emma Hadzi Antich
                                                                                                                          Acrylic on board

                                                                                                                          10.5” x 9.5”





                                                                                15a- e.) Emma Hadzi Antich
                                                                                              Saint Odile Stone #1-5
                                                                                              Acrylic on stone
                                                                                              Various sizes

                                                                                              $60 each

“I’ve been going on a yearly pilgrimage to Mont Saint Odile since 2017 and each time I fill my pockets with stones from the wooded paths to use as tiny panels for painted eyes.  The attribute for Saint Odile is a pair of disembodied eyes and while these are emblems for insight, they also literally represent her personal history. Saint Odile was born blind, but in her adolescence, an angel brought a bishop to baptize her, and she gained the ability of sight.  I find myself painting eyes whenever I’m in need of insight. In general, getting into the flow state of painting slows time but working on these stones from Mount Saint Odile calms me with memories of meadows, ancient Druid walls, and the burial chamber of a revered saint.” – Emma Hadzi Antich


Elizabeth Chapin is a contemporary American portrait artist whose mixed media work explores and deconstructs the ideas of nostalgia, gender roles (especially those of women) and the status quo through an anthropological lens. Chapin’s background as a traditional portrait artist has evolved and while she still paints portraits, she has begun incorporating materials like undulating fringe, plexiglass, silk and tulle ruffles, neon and stuffed canvas. These dynamic elements turn a flat painting into a 3D manifestation. To best unravel what nostalgia means and how it holds us where we are, Chapin mostly uses young women as her subjects, many of whom are in transition or caught in the collateral instability of competitiveness, desirability, observation and anxiety. The works wholly convey Chapin’s hope for women to be utterly themselves--free of both shame and duress. Her most recent works will continue to push this desire, but will explore the banishment and solitude that often comes with being a woman, from Eve in Eden to The Birth of Venus to today’s Instagram models. Using a frame of mythology and origin, Chapin continues to search for what it means to be fully oneself. 

Emma Hadzi Antich is an artist based in Austin TX.  Hadzi Antich uses the conventions of Byzantine iconography to portray human beings as complex spiritual creatures. Her paintings blend modern and ancient symbols moving us beyond our materialistic lenses into a reality that is mysterious, energetic, and inexplicable.

CP Harrison is an artist working primarily in collage and décollage. Harrison’s work uses found materials to highlight the residue of experience and explore the poetry of the abstract, the aged and the misremembered.

Hayley Labrum Morrison earned a BFA from BYU Provo in 2008. Her recent group exhibitions include “Millennial Visions”, a Utah Visual Arts online exhibition (2020), “Via Crucis” at Writ & Vision Gallery in Provo, UT (2020), and “The People’s Gallery” at Austin City Hall (2020). Hayley held a solo show, “Give Me Place”, at Horlock Gallery in Navasota, TX at the culmination of a six-month residency with Navasota Artists in Residence (2019-2020) and collaborated with Dylan Wylde (2020), Flavors Creative Group (2020), and Backdrop Stock (2020) on a range of marbled wearables and digital backdrops. She recently co-founded the Austin-based arts & theory website, concept animals and has been featured in Exponent II magazine, ArtX Talent, and the Navasota Examiner.

Meena Matocha uses charcoal, ashes, soil and wax to create paintings, combining abstraction and figuration, exploring the space between grief and joy, the place where heaven and earth converge.  Matocha earned her Bachelor of Arts in Studio Art, focusing on painting and drawing from The University of Texas at Austin in 2000.  After a long break from creating art, during which time she lived overseas serving with a non-profit organization, Matocha returned to her native home of Austin, Texas where she now makes art full time.  Matocha had her inaugural solo show in 2017 at the Asian American Resource Center in Austin,TX and has exhibited at galleries in Austin, Texas including Women and Their Work, The Gallery at Atelier 1205, and Big Medium Gallery, among other venues. She has been listed as an artist to see by Jeanne Claire van Ryzin’s Sightlines Magazine, Austin Monthly Magazine and Art Profiler.  Her work is held in private and public collections throughout the United States, Canada and Europe.

Saul Jerome San Juan moved to the USA at age fourteen with his mother and two younger siblings. He studied art and music as an undergraduate at Loyola in Chicago,and completed a graduate degree in architecture at the University of Texas. Prior to Coronavirus social-distancing measures in March 2020, San Juan organized and curated a total of thirteen art exhibitions at The Gallery at Atelier 1205 within a space of just two years, showcasing Texas contemporary artists. San Juan enjoys engaging others, especially school-age children, through participatory art-making, volunteering in endeavors such as the Dell Children’s Medical Center Art of Giving and the Austin Police Department Summer Youth Leadership Program. These community endeavors have inspired San Juan to pursue official Texas educator certification, beginning his new career as an art teacher at Stephen F. Austin High School in August 2020. As both a classroom educator and an artist with an active art practice, San Juan hopes to contribute holistically to our society today and tomorrow the sublime empathy that art has the potential to inspire in people of all ages and diverse backgrounds.

Meghan Shogan is a European-trained architectural stone cutter, currently using her architectural and technical skills to create experimental sculptural works in stone.

Saul Jerome San Juan

 © 2020 by Vault Stone Shop LLC                                   

  4361 S. Congress Ave, Suite 103, Austin, TX 78745

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