Page 16 - For the purpose of this essay when I refer to ‘spirit’ ‘devine’ or ‘spirituality’ I am referring

accomplished in their technique, but they are also Romantic in their conception and
resonant with symbolic potential. Madden described them as paintings about different
layers of light, implying that they were merely an analysis of physical phenomena; they
are much more than this, however. Madden paints deep and ambiguous spaces – a
constant feature in her work, which invite us nonetheless to explore metaphysical ideas
when looking at them.

1.Do you believe that there is a spiritual dimension (such as divine influence,
connecting to something within ourselves but also greater than ourselves) to creating
your art

I don't think it is an external divine influence because I feel it is an intrinsic mysterious
energy residing in an artist which must be released into the making of a painting. The
artist must lose him or herself for this to happen.

2. Do you believe great art can be created without being open to this influence? Is it a
necessary part of the creative process for you?

Yes, I believe it is a vital component of any great work of art. If it doesn't emerge the
painting won't function.

3. How would you describe this influence?

Paint, a formless matter, metamorphoses into an autonomous form, hitherto unseen,
strange, and which emanates a powerful force - a virtual reality.
All great painting has this force which gives it an almost awesome aura.

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 aware when I have let go of a painting and it then leads the dance.

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

Bridget Riley answers your question very well about the source of an artist ability to
bring about a work of art.

‘There is an area and a very sensitive primary area for an artist, which cannot be
referred to directly without damage. It is as though the impulse which is about to be
expressed should remain unavailable to the logic of the intellect in order to find its true
form in whatever field or metier the artist has chosen’. Also (See 3)

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