1956-1976 | Jonynas and Shepherd Art Studio, Inc.

In 1956, Don and his mentor, Vytautas Kazimieras Jonynas (1907-1997) formed a Design and Artisan Studio that would last for twenty years. They specialized in churches and stained glass — hiring and working with teams of artisans and craftspeople based on what the project called for. Their projects included architectural design in conjunction with sculptural and interior components, such as:

• Stained glass windows

• Major high relief interior and exterior sculpture

• Metalware

• Alters

• Pews

• Carved doors

It was out of a deep collaboration with each community of people that Don felt a more personal, culturally relevant solution could take form: “When I am working in the fields of environmental art and design and industrial design, my approach is that of a holistic designer. The design solutions emerge out of an understanding of regional and cultural history, humanistic concerns and architectural style.” –D.A.S.

Noted projects included high relief concrete sculptures for The Vatican Pavilion at the New York World’s Fair (1964-65); Sacred Heart Church, Eureka, California (one of the first new Catholic “churches-in-the-round” on the West Coast, 1965); The Church of the Ascension in Hamden, Connecticut (1968); the Saint Labre Indian Mission on the Northern Cheyenne Indian Reservation in Ashland, Montana (1971).

 Jonynas and Shepherd Art Studio Brochure

What is the fabric of the new church?

The early 1960s was a time of change in the Catholic Church. The second Vatican Council (1962-65) was called by Pope John XXIII with the intent of updating the church to better connect with people in an increasingly secular world. Changes included a shift from delivering the Mass in Latin to local languages instead, a greater role for the congregation itself, and an emphasis on promoting unity among the world's Christian Churches and religious freedom in general.

Additionally, the Council provided a new freedom in architectural guidelines that were quite general in tone: a directive that architecture in all its aspects be designed to stimulate maximum participation in the Mass by the congregation, and that the Mass be celebrated with the priest facing the congregation.

This new freedom to be more experimental in design expression was a perfect match with Don’s exploration of new materials for the art and design of a church. It also fit well with his natural process of incorporating deeper cultural connections with the communities he worked in and with — pulling from their history, traditions, and where they found meaning and beauty.

The Church of the Ascension

1968 | Hamden, Connecticut
Dec. 1971 | Published in Progressive Architecture
Architect: J. Gerald Phelan, A.I.A.
Interior and Liturgical Designer: Jonynas & Shepherd Art Studio, Inc.
Designed and furnished pews, altars, metalware, stained glass windows, carved doors and major high relief, exterior sculpture.

“Don Shepherd and poet Catherine Pucciarelli collaborated to create the Stations of the Cross. Using a montage design — instead of separate individual stations — they translated the familiar journey of Christ into more relatable contemporary terms. Using the themes of involvement and commitment, they aimed to create a parallel for today’s Christian conscience.”

From The Ascension Church Dedication Booklet, 1968

Click on image grids to enlarge.

Mediums and Methods

A defining theme of Don’s life, was exploring the potential of basic materials — wood, glass, metal, stone, paper, canvas and textiles — to be made into art. He constantly experimented and documented how these materials could be shaped, sculpted, cast, stretched, painted, infused, and combined to create new methods for art-making, construction, and communicating. He was especially adept at working with skilled craftsmen to collaborate on bringing new methods to life. Below is a snapshot of some explorations.

1961 | Glass Theory #2
“Starting with a primary wall, sculptured on both sides with colored glass in niches, then fracture this wall into modules to be used as introductory elements in the architecture.” –D.A.S.

1963-1967 | Stained Glass Window Experiments
Series in Don’s studio and home. “This window is interesting in that the white glass is opalescent and in some light situations suspends the transparent colored glass.” –D.A.S.

1964 | Sculptured Glass Castings
“The original pattern is carved in styrofoam. In this case 1.5” thick. After the pattern is completed, it is then cut into sizes that are suitable for glass castings. The pattern segment is now packed into an open back sand mold. It is put into a low heat oven, the foam is removed and glass is then poured into the cavity.” –D.A.S.

1965 | Glass Theory #3
“Using an old section of wall (wood lath with plaster removed) I let the spacing between the laths dictate placement of glass jewels. This is a basis module concept for a complete building. Reverse side is direct graphics in fresh concrete which suggests a whole range of surface textural solutions.” –D.A.S.

1965 | Bronze Castings from Foam and Burlap Models
“Crucifix (approx. 14" inches tall). Large forged cut rails make up the extremities of this figure. They were then embedded into styrofoam and the form was wrapped in burlap. The body of the figure was then cast into bronze.” –D.A.S.