Page 22 - For the purpose of this essay when I refer to ‘spirit’ ‘devine’ or ‘spirituality’ I am referring

an alert awareness with the absence of ego in the making of their paintings, how a
painter reaches this state can be a deeply personal one and is as varied as there are
individuals, for some it may be to delve into their past or to use meditation or work
from imagination to working directly from life. What’s most relevant is the recognition

of the spiritual/divine whether that be explained as such or explained as ‘It is a search
for truth and honesty, of knowing oneself and accepting oneself fully’ (Doran) or
'power beyond myself' (Charlton) or ‘powerful force - a virtual reality’ (Madden) or ‘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’
(Gaynor) it amounts to the same thing, being inspired within and without, this
inspiration which is easier understood when felt rather than explained in words. When
felt then the choices of colours, composition and marks made become inspired rather
than contrived. It is here, in that place, irrespective of the words used to describe it as
discussed above, where I believe the painter is most open, most susceptible to creating
great paintings.

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