It proposes that through cross-cultural fertilization with the East an enriched understanding of the sublime experience can be formed and felt. Furthermore, this research seeks to deepen an understanding of the nature of artistic practice and its potential for transformation. The practitioner-researcher will be guided by practical and theoretical research on the conditions of the sublime with a particular focus on Burke’s ‘vastness’ and Hegel’s ‘one absolute substance’ as the subject. Through a meditative artistic practice directed and defined by the principles of traditional Chinese landscape painting and its focus on the metaphysical the practitioner-researcher moves to connect with something higher. Conditions for the exhibition of the resulting body of work will be set up to entice viewers into an immersive experience that echoes the artist’s creative process, experiences and findings. 

 

 

During the initial painting session an internal rhetoric of questions and self-doubts were observed. 

·      Will I be able to convey a sense of the sublime?

·      I have set myself a very hard task

·      Does this look sublime?

·      What colours look sublime?

As the masters predict when a painter has a ‘distracted spirit’ the resulting work is “obscure and evasive without vigour” Liu Tsung-yuan (as cited in Siren, 2005, 45).

 

On conclusion of the session15 minutes in silence allowed a number of questions to bubbled up.

·      When have I had an experience of the sublime?

·      Terror in nature?

My mind went to the first time I truly learnt the power of the ocean. I was ‘dumped’ as it is know. Tumbled, held down by the force of a wave. Confused, lungs bursting and unsure of when I would be let up, moments where I feared for my life. Terror? Yes

I then considered the conditions of the sublime once more. Did I have an elevated feeling as a consequence? No. In this instance, the experience was too unpleasant, too frightening. However following this was perhaps a new way of seeing the ocean.

 

My mind probed for more experiences.

Certainly the ocean is where I have felt that slight terror which peaked my senses and elevated my mind and body. 

Diving, snorkelling or swimming in deeper seas. Feeling small in the abysmal body of surrounding water, yet encompassed in it. Fearing of the unknown and the unseen. 

But this slight terror was mixed with the sensorial joy of swimming and exploring the extraordinary depths. The taste of salt, the fresh cool water on my skin. The feeling of floating. The undulating rocking of the waters movement carrying me to and forth. The jewel-like coral and fish, the sparkle of the sunlight, dispersed making playful dancing shapes. 

 

This oscillation between pleasure and terror. The search for the sublime continues. 

Day 

11:00-12:30

Painted in a calmer mood. 

The daylight felt a better light to paint in and I felt refreshed. 

Less negative or critical thoughts.

Painted into last night’s work.

Felt much more creative freedom.

Worked with meditative music by Kelvin Mockingbird.

This set a calmer tone and my concentration was better.

I worked with Indigo colour

Contouring spaces.

This honed my concentration.

By not having any thought as to what I was painting, I had a much more enjoyable practice.

Feeling elevated mood, increased sense of peace and slowness afterwards.