Page 14 - For the purpose of this essay when I refer to ‘spirit’ ‘devine’ or ‘spirituality’ I am referring

3. How would you describe this influence? (the spiritual dimension)

The urge to create itself
The actual subjects one chooses to explore

The threads of connectivity between these
When the work moves from the conscious following of plan to that dimension where
it’s out of your hands

4. Is this influence something you are aware of at any stage of the creative process,
before, during or after? If so in what way are you aware of it?

I am most aware of the spiritual dimension to the creative process at a later part in the
exploration of a subject.
The starting point sees the blank surface being tackled with some kind of deliberate
intention. So, the work begins with conscious thought, a plan of action that usually
involves the physical, and indeed frequently some kind of image in the mind’s eye.
Through the exploration of the subject in paint, the painter moves towards the
unconscious, moving to a stage that is instinctive, intuitive, and beyond deliberate
intent. While that stage touches on the very essence of the individual, it seems to move
beyond individual choice or control, which could perhaps be attributed to another
being, but which certainly seems to tap into that which is universal. From the state of
the known, the painter pursues a path that leads further into the unknown.

The process of painting involves looking closely at the world and at the minutiae of our
experiences, physical or otherwise. It is this close examination of things pertaining to
our reality that brings us beyond the realm of that reality.
Painting allows for the exploration of ideas and thoughts, half formed, in the tiniest
chinks of our minds. In a sense, one could see the making of art as an opportunity for
spiritual adventure. On a personal level, the further into unknown territory I go, the
more I like it, although not otherwise particularly brave or adventurous. One feels the
best painting is when there is no longer the pursuit of particular intent, but rather
something else, almost outside of oneself, although in fact very definitely inside
oneself, that unique part of one that makes one one. It is a process where frequently
aimlessness is good, where, when left to its own devices, what is real at the very core of
the person and the mind, comes to the fore, to be expressed through the medium of
paint.

5. What do you think makes a painting a great work of art (painting)?

For me, a visual piece has to have some strength in its visual appeal. It may have a
concentration of either one or other or several of the many elements that strengthen the
visual, but whatever elements of good craftsmanship it incorporates, these are
combined with that extra dimension, we have been describing as the Spiritual, a quality
which by its very nature is almost indefinable.

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