Editor’s Note: Matthew Chicoine interviewed Vivian Imbruglia via phone call on May 12th, 2025. Some of the questions have been rearranged and edited to provide the best reader experience without losing any integrity of the answers given. 

How did you get into creating sacred icons?

It’s been over 20 years. My mother asked me to take an “art” class but I didn’t have time with my kids being in high school. But I heard a talk by my priest about honoring your parents and so I took my mother to this class on Tuesday. 

I loved this sacred art class. I had such a love for this art and studied on my own. When our teacher left, I took over the class. I felt called to teach sacred iconography full-time and left my job. I put my trust in the Lord that God would take care of us. It’s been amazing! I just finished a huge altar piece and am now getting ready to begin an Adoration piece. 

Your work is described as “writing” rather than painting icons. Can you tell me more about this? 

This is how I learned in iconography you can’t take credit for anything you do. How can I say that I painted the Wedding of Cana, the Baptism of Our Lord, all these other stories from Scripture. It would seem rather arrogant to me to say I painted this scene. I am writing these stories anew. I feel incredibly underqualified to say that I am painting. In real iconography one never signs their name on the front. It is only on the back of the icon and the signature is in small letters. 

I will hide the letters AMDG in the icon as a reminder to myself that this image I made is for the glory of God. 

Could you elaborate on this spiritual distinction and how it affects your approach compared to other forms of religious art?

You have to live within your faith at all times. There were times I was struggling with a piece and I had a friend say, “When’s the last time you went to Confession?”. I have Gregorian chants in the background and don’t listen to secular content when I am working on the artwork. Your mind must be immersed in the holy. My husband is now a deacon and I have a lot of friends who share the same faith, so it helps to be in the environment that helps get me in the right theological soil. 

You mention dialoguing with saints as you create their icons. Could you share a particularly memorable conversation or inspiration you’ve received during this process?

I had to read up on Saint Philomena about ten years ago. I learned she was known as the wonder-worker. My grandson was being tested for autism. I was talking with her and received a call from a friend who had a prayer request for her aunt. My friend called me back saying that her Aunt Ella received a vision from a woman in blue. Many times I had conversations with the saints. For example, I go to Saint Michael the Archangel. I had a relic and blessed salt and asked him for his guidance on a car ride (I’m not a fan of car rides). He was instrumental in protecting me during this occasion where a car was coming directly from us from the wrong direction, my husband swerved and went between two semis. There were several fatalities. But in hindsight I learned that Saint Michael protected me and my husband. 

Many of your icons incorporate physical elements like sand from holy sites or blessed water. How did this practice develop in your work, and what impact have you seen it have on those who receive these icons?

This is really interesting, I was working on a piece about Saint Oscar Romero. I took this dirt my priest gave me from El Salvardo where a massacre took place. I mixed it in the paint and put the 24 carat gold over the paint as a symbol of these individuals going to Heaven (as martyrs). We were blessed to have a first class relic of Oscar Romero in the icon. 

There’s a sense of awe and gives people something to think about. Having the relic present while I am writing the icon is incredible and a blessing. 

The eyes seem particularly important in your iconography process, as you pray specifically that they will “draw in” the right viewers. Have you witnessed any powerful encounters or conversions that stemmed from this spiritual connection?

Oftentimes my images go and I don’t see them again. I pray that those who need to see it will be drawn in. It might be an image of Divine Mercy or a particular saint. That’s the prayer: that those who need to see it will see it. I ask the Lord “Give me the grace to see the eyes.” The eyes are like the soul of the icon. 

There was an image of “Eucharistic Jesus” the eyes have drawn people to see Jesus truly present in the Eucharist. It was originally written for a retreat; now it is hanging in the Adoration Chapel, Saint Peter and Saint Paul in Altaloma, CA. During the Eucharistic Revival we reprinted (10 x 8 frames) and gave one away to a family each week. We gave the families pamphlets about Eucharistic Adoration.  So that image really helped a lot of people learn about Jesus in the Eucharist. For over a year we gave out images to families and ended up giving about 1,000 images. 

As Catholics increasingly seek to strengthen their domestic churches, how have you seen your icons transform family prayer life and devotion in homes?

I make a point to ask families that if someone walked into your home would they know you are Catholic. Have at least an image of the Sacred Heart. It’s kind of been my thing to spread the beauty of our faith through my images. People have forgotten the beauty of our Catholic faith and made our homes the domestic church. Especially when I speak at marriage retreats. I ask how you can fight with your spouse in front of an image of Jesus or have something inappropriate on TV when you have the Blessed Virgin Mary in the living room. 

If Jesus walked into our homes today would he see a picture or image of Himself? If not, then you should get sacred art or statutes to remind you of Jesus, Mary, and the saints. 

For those interested in learning iconography as a spiritual practice, what advice would you give about approaching this ancient tradition with the proper reverence and understanding?

We don’t see a lot of Catholics doing this. Our Greek Orthodox brothers and sisters aren’t always the kindest with us on this matter. Read about Catholic sacred art. Think of iconography as windows into Heaven. Icons are a small window into Heaven. I try to write as much about the saints on my website but research any way you can. Learn about the saints! Again think of it as a window into Heaven and wanting that for your home. Remember that we are not only looking at the saint but they are also looking at us! 

Icons are prayers.

About Vivian: 

Vivian Imbruglia, a devoted wife and mother of two, serves alongside her husband, Deacon Tom, at St. Peter & St. Paul Catholic Church in Alta Loma, California. She is also a loving grandmother to five. As a cradle Catholic, Vivian discovered her passion for iconography and sacred art over two decades ago. Since then, she has created over 200 icons and sacred artworks that have been featured globally. Guided by the Jesuit motto, “Ad majorem Dei gloriam” (For the greater glory of God), she incorporates the letters AMDG into all of her work. Her mission is simple: to spread the beauty of the Catholic faith through images.