Page 20 - For the purpose of this essay when I refer to ‘spirit’ ‘devine’ or ‘spirituality’ I am referring

3. How would you describe this influence?

It is a search for truth and honesty, of knowing oneself and accepting oneself fully.

When an artist reaches this point there is no compromise and truly real and original
work is made. The spiritual is real.

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 of this influence at every point in the creative process, because for an artist
compromise is hell and the spiritual is an acceptance that compromise is not an option.

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

For me a painting is great when I am aware of the hand and the mind of the artist (the
maker) a painting that just parades skill is like a great musician simply playing the
scales. A great painting is without ego, it is of the maker and completely separate of the
maker, at the same time. A great painting is conceptually, physically and emotionally
engaging.

Evidently it can be seen from these interviews, that the spiritual dimension
in particular during the creative process is very much relevant in contemporary
painting. ‘In the broadest sense of definition of the Spiritual, there is little doubt that it
plays a significant part in the creation of work, and I believe I experience some vital
force, either of Self or of Other at certain stages in the making of work’. Gaynor,
(appendix 1). ‘Yes, I believe it is a vital component of any great work of art. If it
doesn't emerge the painting won't function’. Madden, (appendix 2). ‘As I become more
immersed in my work, 'something' takes over, that something for me is 'soul' or a
'deepness within'. Charlton, (appendix 3). ‘If one believes that the spiritual for an artist
is only experienced when a truth is followed, without compromise, then great art cannot
be created without the spiritual’. Doran, (appendix 4). This influence is evident and also
relevant to these painters both as a process and a realisation of the finished painting.
Without the spiritual these painters categorically feel their work converses considerably
less. ‘In some way the work touches the viewer, in a way that usually surpasses the
physical or intellectual impact. When viewing the paintings of Peter Doig, I found
myself moved to tears, and knew that his actual subject matter did not produce that
strength of emotion. I did not know why, just that I was’. Gaynor, (appendix 1).
The affiliation to a particular organised religion or indeed to none is not the
motivating dynamic in the honesty, alertness and awareness necessary to create
paintings of worth, the spiritual or divine influence is, this is acknowledged by all the
painters interviewed as a given. Gesa Thiessen makes reference to this in ‘Theology
and Modern Irish Art’ (1999, p58) when she discusses the work of the renowned
contemporary painter Louis Le Brocquy, ‘Le Brocquy, however in no way denies the
realm of the spiritual and the transcendent. He has described himself as someone who

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