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Artists may draw inspiration from realities that are physically intangible, but exist strongly in a metaphysical sense, within the mind and soul of the individual. In doing so, they project their personalities into their art in great depth, intensifying the emotional reading of their work, and giving the intent of their art practice spiritual value. Though the extent or type of spirituality within varies from piece to piece, by exploring something complicated and elusive enough to be considered spiritual, artists create the opportunity to question themselves to the point of enlightenment. This in turn allows viewers of their pieces to do the same. Two modern Australian art works with spiritual value are We too have been there, though we shall land no more (2009) by Del Kathryn Barton and Sydney Sun (1965) by John Olsen. While Olsen fixes his attention on the nourishing, energy-giving effect of the sun on the vibrant life of Sydney, Del Kathryn Barton delves into a personal interest in the unseen relationship between humans and nature.
Del Kathryn Barton’s painting We too have been there, though we shall land no more, is a large four-paneled mural, composed of eight humanoid figures sprawled throughout a dream-like jungle in a kaleidoscope of colours. Barton’s renowned style of obsessive mark-making is evident, with tiny dots, splatters and fine lines covering the image. The piece radiates energy, with each figure possessing its own bold presence within the piece. The majority of the figures stare out through the canvas, pallid faces with haunted, dreamy eyes; whilst others revel, heads tilted back, in reveries of ecstasy.
The physical connection between the figures and the nature in which they are entwined, is... The rest of this article is available to subscribers of Eyeline