Drawing as spiritual activity
By Stephen Myers BA (Hons) F R S A
INDEX Abstract Introduction The Neo Catechumenal Way Correlations Crisis of confidence Tradition and teaching Daily practice Investigative practice Overcoming impediments
My practice The sketchbook Made works Conclusion
sonal testimony contribute to understanding the phenomenological experience of living in Drawing as spiritual activity London’s secular, urban contemporary society. Abstract. The research outcomes comprise a resolved body of work encompassing a comprehenThe only really effective apologia for Christianity comes down to two arguments, sive portfolio of drawings, a collection of namely, the saints the Church has produced etched glass objects and two-dimensional and the art, which has grown in her womb. works. The critical practice portfolio can be accessed at issuu.com/stephenmyers (Pope Benedict XVI, 2013, p102) Both drawing and religious practice require a process of education and formation. In what ways can the assenting processes of spiritual passage and drawing practice bring both into a newer dimension where each can regain a sense of sanctity and hallowedness in secular, urban contemporary society? And, in what ways might the art that emerges from this expanded practice offer fresh perspectives to contemporary urban audiences that are overloaded with visual messages and generally immune to the tenets of the Christian Gospel? My research engages with these questions through investigating the effects of developing my drawing practice whilst undertaking a structured, formal spiritual journey known as the Neo-Catechumenal Way. My formation as an artist also has a distinct path; initiated at pre-school, developing through primary, secondary and tertiary education, professional experience, personal interest and currently through post-graduate studies. This journey of becoming has embraced all forms of traditional manual practice and, more recently, digital practice. The research project draws on Deanna Petherbridge’s text, ‘The primacy of drawing’ and her lecture, ‘The practice of skill: A punishable offence?’ to situate thinking and practice. Biblical texts, catechesis and per1
artist who graduated from the Royal Academy of San Fernando in Madrid. The Way has a distinct agenda of formation similar to If the artist is “constantly in search of the the formation of a person in a religious order. hidden meaning of things” and striving to At its conclusion is the investiture of a white express “the world of the ineffable”..., then, garment, much as a nun or monk would exin order to fulfill this aim, the artist must perience turn to those human activities and institutions that offer the greatest insight into what is transcendent. Religion is a necessary resource in this task because it directly addresses itself to the nature of transcendence by exploring questions of meaning. (Deavel, 2002, p2)
Introduction
Both drawing and religious practice require a process of education and formation. This research project investigates: • In what ways can the assenting processes of spiritual passage and drawing practice bring both into a newer dimension where each can regain a sense of sanctity and reverence in secular, urban contemporary society? • In what ways might the art that emerges from this expanded practice offer fresh perspectives to contemporary urban audiences that are overloaded with visual messages and generally immune to the tenets of the Christian Gospel?
Kikko Arguello
My research engages with these questions through investigating the effects of developing my drawing practice through producing a body of drawn works and etched glass objects, whilst undertaking a formal spiritual journey known as the Neo-Catechumenal Way.
The way has many phases that are undertaken over a number of years. The phase most relevant to this research is the closing phase; a battle to acquire an interior simplicity of ‘the new man’ formed of three parts. In the first part the spiritual student, known as the catechumen, is given specific definite tools including meditative and repetitive mental prayer, the liturgy, the Eucharist, the ‘liturgy of the hours’ otherwise known as The Divine office that is prayed by every member of the clergy and religious. Various texts are scrutinized most notably the psalms. The second part is a period of study of the ‘creed’, the members are encouraged to
The Neo-Catechumenal Way The structured, formal spiritual journey that forms the spiritual strand of my research is the Neo-Catechumenal Way. Known as The Way, this contemporary movement was initiated by two lay apostles, Kikko Arguello and Carmen Hernandez. Arguello is also an 2
speak of it to others and the period concludes with another rite. The third part comprises a formation of liturgical and contemplative prayer and meditation on the ‘Pater Noster’. Henceforth there is a communitarian celebration of lauds together before going to work. The final phase of The Way for the catechumen is a time of enlightenment containing a study of the sermon of the mount and a time of reflection on her/his own life and God’s purpose. Having shown with their works that the new man is becoming reality there is a period of election to the Catechumenate and, finally, a physical journey to the Holy Land that concludes the person’s election.
casions of crisis in my own practice from the outset. Determination to continue despite these trials is paramount. For me, the process of drawing as therapy overcomes some of these crises. As the creative practitioner can abandon the practice of drawing by being overwhelmed by a crisis of confidence, so too the spiritual practitioner is often overwhelmed and abandons spiritual practice, early in life. Any realistic book on spirituality will mention moments of crisis. My own experience is again one of determination despite crisis. The practice of meditation and detachment is helpful in these moments of challenge. One of the most powerful gospel stories is that of ‘The prodigal son’. 2. Tradition and teaching
In both drawing and spiritual practice the Correlations teaching tradition is imperative. The church teaches that it is not enough for Through my research five particular correla- an awakening to the gospel message to be attions emerged between my drawing practice tained merely from reading scripture, it also and the spiritual initiation process. needs to be informed by sacred tradition and the practices of those who have gone before. 1. Crisis of confidence Throughout the history of Christianity there Starting in childhood most children welcome has been a tradition of handing down beand embrace drawing and few fail to respond lief, faith and spirituality from generation to to the joy of drawing. As children get older, generation: ‘Tell it to your children, and let however, it is common to lose the desire to your children tell it to their children and their draw on a regular basis. Many come to bechildren to the next generation’ (Joel 1:3). lieve as adults they do not have the skills Despite tragedies of history where the tenets to draw and are unwilling to do so. Betty of this wisdom have been lost to whole comEdwards, artist and influential writer on the munities through schism and animosity, this practice of drawing, observes; tradition persists. ‘It seems to me that premature closure is one In her discussion of artistic tradition Petherof the greatest road blocks in both the procbridge talks of a past era where the skills of ess of drawing and the creative process itself’ drawing were taught in a rigorous way and (Edwards, 1987, p 175). with a determined agenda, and students were apprenticed to a great master in the same way In my 30 years of teaching experience there as a tailor or glazier: have been many times I have encountered ‘Giotto’s inherent talent drives him, but his students who have expressed this crisis of development as an inventor of a new style reconfidence. There have been numerous ocquires the nurture of a master, whom he then 3
surpasses’ (Petherbridge, 2010, p210). Petherbridge further asserts that genius stands on the shoulders of past genius, underlining the importance of handing down skills and techniques: ‘The ability of real genius to outstrip its mentors is traditionally balanced by a belief in constant renewal throughout an artistic career’ (Petherbridge 2010, p211). The spiritual path is a similar one in which the novice is initiated into the ‘rule’ but goes on to investigate a unique path, as instructed by St Paul when he urges, ‘continue to work out your own salvation with fear and trembling’ (Philippians 2,11-13) In contemporary urban society the idea of ’handing down’ to the next generation can be problematic. The next generation is often alienated from the generation that precedes it. The reliance of school can never really replace the learning that happens within the family or social group. Many past masters were schooled in this sort of environment not solely in a formal educative environment. The danger of a dislocated family or society is the loss of bequeathed skills. There is much conversation within the media at present on the loss of life skills (Levy, 02/08/13) and the absence of fathers. (Richardson, 10/06/13)
Antonio, draw Antonio and don’t waste time,’ (Petherbridge, 2010, p212), to Pisarro at the end of the 19th century. It was common practice that only the young artists who demonstrated this work ethic were rewarded by being able to use colour. In the present era these methodologies seem archaic and irrelevant but in her lecture ‘The practice of skill-a punishable offence? ‘ Petherbridge argued that the modern world needs to reassess some of these learning procedures and redress the meaningless practices that often are enacted in the contemporary life class or drawing class. She advocates taking the best from traditional and contemporary learning strategies in order to move the learning and teaching of drawing forward. 4. Investigative practice
3. Daily practice
Federico Zuccaro(1544-1609)
In both strands of my research there is a distinct emphasis on daily practice. Relentless meditative chant/prayer is crucial to the development of a spiritual awakening as abandoning or slacking in the mental process of prayer may jeopardize the final attainment or destination. This is mirrored in the formation of the artist where, traditionally, sustained and rigorous drawing practice was required. The artists insisting on this discipline range from Michelangelo, in the 15th century, who wrote to his pupil and workshop assistant ‘Draw
Learning to draw in these historical periods also included investigative practice where students were encouraged to pull back the veneer of objects and draw what lay hidden. Students studied mathematics and proportion in order to render architecture and anatomy. The process of ‘dot and line’ and spatial perspective are familiar. These almost legalistic and investigative practices were eventually seen as negatives in the pursuit of total free expression. Petherbridge states that; ‘Zuccaro in the early days (1595) of the Academia of San Luca, Roma was already dubious of too 4
much reliance on excessive teaching of geometry/mathematics etc’ (Petherbridge,2010, p220) Once the basics are learnt then the practitioner is competent enough to move forward.
anything like an open minded approach. Instead you can see things only in relation to categories already established in your mind. (1987, p166) This, of course, does not exclude anyone there may be one-handed pianists or colourThe investigative practice of the spiritual blind artists. So too there are clever people process is similar to the drawing practice. who come to faith, it is just that they have The spiritual or religious process is one of to overcome the handicap of ‘intellect’. The lifting up the veneers of everyday reality in relevance of this to the topic is that the work order to truly be enlightened. Just as in draw- is not an intellectual exercise but a self reing, the artist learns from this process, so flective and perhaps evangelical one. The does the modern spiritual practitioner. lecture by Jill Bolte Taylor for TED ‘a stroke Inherent in religion is a legalized perspective. of insight is relevant. Jill is a brain scienThe Old Testament is very much suffused tist whose own stroke led her to investigate with legalities. In the same way as drawing the phenomenon at first hand. Her recovery these legalities can be stifling to the pracunleashed a torrent of creative energy and tice. Discernment of the basics is needed to helped her understand right and left side persevere. In the New Testament is found brain activity. (Bolte, 2008) this quote: ‘I thank you father for concealing these things from the learned and the clever My practice and revealing them to mere children’ (Matthew, 11:25) The realisation of these five correlations in In a passive entertainment age the investiga- both practices has not been immediate. The tive attitude can too often be abandoned. In process of keeping a sketchbook and reading this environment it is easy to revert back to a about the past masters agendas were motivaprescribed mentality or legalized viewpoint. tional in my understanding of the relentless This can happen with both practices of draw- methodologies of both practices. It was the ing and faith. carrying of the sketchbook to liturgies and In the interview ‘Science v Religion’ Rabbi meetings that brought both traditions togethSacks is persuasive in convincing Richard er. Dawkins of religion’s investigative mandate. In my spiritual practice I have to speak to (Rabbi Sacks, Sep 2012) an audience about my understanding of, say, the historical characters of Cain and Abel. This revelation comes from writing, reading 5. Overcoming impediments and listening. The drawing emanates from the same methodologies. The exhibition is There is the idea that in coming to faith there ‘speaking to the audience’. can be an impediment. Just as learning to I realised that in both drawing and spiritualplay a piano is problematic if the pianist only ity I have experienced lapses and blocks. In has one hand or wanting to be a painter if the the research, it is in reading of these issues artist is colour blind. So too those embarkwithin spirituality that has made me undering on the principles of faith can be handistand their relevance. My own practices have capped by learning and education. Edwards been mentored by others using a language describes it as: (verbal and visual) used before my existence, Your mind does not interpret the stimuli with which I then develop and pass on. The daily 5
investigative practice is common to both fields and crucial to combat apathy and apostasy. Overcoming impediments is a lifelong reality to both drawing and spirituality, they are un-avoidable.
that this is overcome. The discipline of the sketchbook entries continue despite the personal or indeed the third party critique. Bad drawing is not drawing. The mystical writers Anne Catherine Emmerich (1774-1824) and Maria Valtorta (1897-1961) were throughout their lifetime self-critical and would doubt their work. Maria Valtorta was bed ridden and wrote of her mystical experiences throughout her lifetime, her work only becoming accredited to her after her death.
The Sketchbook
She used to write in an almost sitting position in bed, in ordinary school notebooks, which she supported with a piece of cardboard held on her bent knees. She would write at any time, by day or by night, even when she was exhausted by fatigue or tormenting pains. She wrote effortlessly, naturally and without revision. If interrupted, she would leave off writing and then resume later on with ease. (Valtorta, 1999, p IX)
The practice of keeping a sketchbook is an imperative in drawing. The sketchbook is to the creative drawing practice what prayer and meditation is to the spiritual practice. Anushka Shani discusses the importance of drawing to artist, Damien Hirst:
This assimilation of the two practices of drawing and the spiritual practice hopes, in some way, to emulate the work of these writers whose mission was hidden and personal. Both Valtorta and Emmerich’s works were scripted from profound spiritual experiences. Their experiences were such that they wrote down what was told to them as opposed to interpreting spiritual ideas.
The secret to his work; they (the drawings) demarcate his purpose…Hirst draws all the time, it’s a way of keeping the flow of imagination in flux.. it sustains his vision as it travels from sheet to sheet, notebook to notebook, graph paper to beer mat, scrap of paper to receipt envelope, hotel stationery and newspaper. (Petherbridge, 2010,p 431) I know from my own practice that keeping a sketchbook requires real discipline. The sketchbook needs to travel with the practitioner at all times and entries need to be a consistent act. Just like the meditative process this takes a strong act of will and is not to be underestimated. Just like the meditative practice despondency is, forever a temptation. Also there is a critical element to the process whereby the practitioner can become hyper-critical of the entries. It is important
Maria Valtorta
Drawing in the sketchbook can be said to 6
be unique from other forms of drawing possibly by its sense of being visual babble. It represents a mind in action but awaiting inspiration, a mental wandering and doodling looking for purpose and meaning. Without this sort of mental passage any other sort of drawing can be difficult. To be awaiting inspiration without the practice of keeping a sketchbook can be a sterile and fruitless occupation. As David Hockney’s mother often quoted to him ‘Inspiration never visited the lazy.’ (Hockney, 15/01/12.)
direction and insight. The role of spiritual director is worth mentioning. It is often overlooked in the artists’ creative methodologies. The history of art is full of spiritual mentors. Vittoria Colonna (1490-1547) was at the centre of a group known as ‘I spirituali’ in Rome. She influenced Michelangelo to turn his obsession with Tommasso dei Cavalieri and Neoplatonism to Christian devotion. Marguerite D’Angouleme says of her;
Not only does she surpass all other women, but, moreover she seems to show to the most Betty Edwards states: serious and celebrated men the light which is a guide to the harbour of salvation (Liebert, Drawing and creativity are both replete 1983,p 312.) with paradox. That the never- ending search She transmitted ideas to Michelangelo is tantalizing yet deeply satisfying is one of through giving him artifacts she collected the striking paradoxes of drawing. One alwhilst on pilgrimage and through poems ways feels that the next drawing will reveal she wrote. On her death, Michelangelo rewhat one searches for, and the next and the sponded in kind through poetry. In a sonnet next. Another paradox is that by looking he wrote he attributes the creation of his soul outward and seeing the world around you in (the master creator) to his director and menthe artist’s mode of seeing, you gain insight tor: into yourself. (Edwards,1987, p231) Now for that every stroke excels the more The higher at the forge it doth ascend In the project there has been a diverse set Her soul that fashioned mine hath sought of methodologies to transpose spiritual the skies. (Michelangelo, LXI,p151) ideas into creative realities. Listening is paramount. Listening to God. Through catechesis, homilies, liturgies, other people and probably most crucial of all, in silence. This inspiration is not just relevant to the narratives of the drawing, but also to the process itself. David Lynch, (b1946) the filmmaker and director, writes about his discovery of meditation as a way to inspiration. He states: ‘Ideas are like fish. If you want to catch little fish, you can stay in the shallow water. But if you Vittoria Colonna want to catch the big fish, you’ve got to go deeper.’ (Lynch, 2006, p1) He also states; Rudolf Steiner can also be described as a ’the thing about meditation is: You become spiritual director. Profoundly important to more you’. (Lynch, 2006, page 57) creative thought in the 20th century. His As well as these principles of practice, the work in education is a worthy one. Bruce Neo-Catechumenal Way provides spiritual Uhrmacher states ‘For Steiner, art forms 7
bring the spiritual into the earthly world’ (Uhrmacher, 2013, p102.) He criticizes modernisms loss of direction thus;
ency’ .A digital age where all our actions are manifest to a wide audience immediately. ‘One nation under CCTV.’ (Banksy graffiti). In choosing glass as, one of the preferred media, the drawing (engraving) is elevated to a level of preciousness. As presented already, in linking the drawing practice to a spiritual one, this would seem an irresistible opportunity to synthesize both practices and convey contemporary narratives in a relevant manner. There is also the concept of ‘renewal’ here, of an old fashioned, if not archaic skill. This ‘renewal’ is also relevant and can be compared with spiritual ‘renaissance’.
We could never have attained the science, the commerce, the industry, the law of our time, had we not exercised our critical faculty everywhere, had we not everywhere applied the standard of our judgment. But what we have thereby gained in external culture we have had to pay for in a corresponding loss of the higher knowledge of the spiritual life. (Steiner, Rudolf, 1910, p56)
Using the medium of glass, the work ‘Interior Castle’ was produced. This work is a series of glass objects placed, one inside the other. The figures of London characters are engraved, the layers of which express the historical eras of migration into the city. These are placed inside a final object, with crows engraved in a spiral, to express the external forces of evil, which surround the human experience. Finally in the interior vessel is engraved a London pigeon. Representing the dove, the sign of peace, which expresses the Rudolf Steiner idea that the true city of peace is something Made works of an internal nature and to be discovered Having explained the rationale behind the through the correct practice of prayer and process of drawing, as spiritual activity, the meditation. This is the utopic city expressed work and its narratives will be explored. in the works of St Theresa of Avila in her In the research of drawing and spirituality book the “Interior castle”. The work has an the subject emerged of what type of skill and architectural element to it. This reflects Rumedia would best render some of these narra- dolf Steiner’s interest in the spiritual qualities tives. Through using multimedia and digital of architecture; media the idea of vectorised artwork or layIt is not at all unnatural that in a building ering became evident. Using glass as a methat belongs to the present and the future we dium to draw on seemed the natural conclushould set out in full consciousness to create sion. This medium seemed apt for a number forms which will help human beings to conof reasons. Firstly, its historical context of quer their consciousness of merely physical delivering sacred biblical messages, for cenand material actuality, and to feel themturies, to cathedral audiences. Secondly, its selves extended out into the cosmos through very transparent nature seems to be a metathe architecture (Steiner, 1999, p. 123) phor for the contemporary ‘age of transpar8
money to the poor’.(Mark 10,21-22) “The two cities” glass piece depicts the dystopic and utopic cities. One upside down the other correct way up, as metaphor for the cities we may experience. Under layers of cloud and rain. These elements express the struggles to attain the utopic city both in our life realities and the spiritual struggle. …and I saw the holy city, new Jerusalem coming down out of heaven from God prepared as a bride adorned for her husband. (Revelations 21;2)
Another idea expressed in glass is again a series of objects placed inside each other. In this case, London vermin are engraved. These represent the corruption of all material things and allude to the biblical quote; Do not lay up for yourselves treasures on earth where moth and rust destroy and where thieves break in and steal, but lay up for yourselves treasures in heaven, where neither moth nor rust destroys. (Mathew 6;19)
In Unit 1 the project included drawings of Cain and Abel. During the process of studying biblical characters the topic of Cain and Abel arose. Cain the first-born, murders his younger brother over jealousy. God accepted Abel’s offering of a firstborn lamb whereas Cain’s offering of the earth’s produce is rejected. In the studying of the text using biblical notes and other texts the realization of this story as being a story about self in which Also there is the idea that insects are atthe old self, attached to the earth and worldly tracted to light where often they perish. The ways brings about the death of the new self, city emanates light and many are drawn to it. desirous of the spiritual things. In drawing In the glass structure, light is important to the this concept the infamous cases of London drawings and the bulk of the insect drawing murders was taken and depicted, where both resides where the light emanates. The forma- victim and murderer are super imposed one tion of this idea initiated from the recomon the other. This would also relate to St mendation during the Neo-Catechumenate Paul’s texts concerning ‘putting on the new passage of the second scrutiny; man’. (Ephesians 4, 22-24) ‘to go sell your belongings and give the 9
In the practical work of Unit 2, the drawing of London’s icon and statuary is core. Many of these statues represent virtues and their polarities of greed, gluttony, avarice, lust, envy, and jealousy. The dual polarities of good and evil and other pole opposites are also examined within this context. Symbols/ signs as well as statues are part of the project. The ‘visible sin’ series of drawings is a project concerning the seriousness of sin. In the story of the woman taken in adultery Christ is very clear about turning away from sin and urges the woman to ‘go and sin no more’ (John 8;16) Fr Francesco Donega’s (catechist, Neo catechumenal Way) homily for this passage refers to the idea that after death our lives will be visible for all to see. The events of that life will be, as if, ‘worn’ by the sinner. This concept may sound bizarre. If the depictions of the saints are scrutinized one can see that specific saints ‘wear’ the events of their lives or deaths. Therefore, for example, St Catharine is depicted with a wheel, St Theresa of Avila is holding a cathedral and Moses is depicted holding the tablets of stone. These drawings experiment with this concept that infamous London personalities are depicted wearing their crimes. Conclusion Both drawing and spiritual practices are innate to my experience of being human. In both I have experienced confusion, abandonment, apathy and neglect. My research into my creative and spiritual practices has revealed how the methodologies of one practice, are reciprocated, informed and enhanced by the other. The parallels between the lifelong spiritual journey and the work of an artist-craftsman, is described by John Paul II when he notes that ‘all men and women are entrusted with the task of crafting their own life; in a certain 10
sense, they are to make of it a work of art, a masterpiece.’ (Cole,2006, p120) Historically the Church has been a long term benefactor to the arts. It is of interest that few contemporary works ever grace its walls. The art world now has other benefactors and it is no secret that huge sums of money are exchanged for contemporary art. In John Haldane’s article ‘Art and vocation’ the church speaks of incentives, for the artist, outside the commercial ones. In very real terms the research has established the reasoning for certain disciplines. The role of the sketchbook to the work. The necessity of daily practice. The value of struggle in the practice. The exchange of learning and its reciprocal benefits. The importance of the investigative mind over the passive entertainment culture. The elevation of drawing, in an effort to re-instate its intrinsic value and purpose. Both drawing and religious practice require a process of education and formation. Is it possible to synthesize these two methodologies? Could one practice impact and affect the other? Could the assenting processes of spiritual passage and drawing practice bring both into a newer dimension where both could regain a sense of sanctity and reverence in a secular, contemporary world. Confirming Haldane’s proposition Yet there is at least an analogy of excellence between artistry and moral character, and one might hope that as an artist develops his skills, so he might want to conjoin them with an equal depth of informed feeling about the human condition. (Haldane, 2002, p227)
Levy, Andrew. (02/08/13) Graduates lack basic skills [Internet] Available from:<http://www.dailymail. co.uk/news/article-2294249/Graduates-lack-basicskills-interested-job-offer-employer.html> Accessed 02/08/2013
Bibliography Bruderlin Markus and Groos,Ulrike,(2011)’Rudolf Steiner and contemporary art’ Stuttgart, Dumont Buchverlag
Liebert, Robert S,(1983) Michelangelo a psychoanalytical study of his life and images,. New Haven and London, Yale University Press.
Cole,Basil.Sullivan Jem,2006,The role of the fine arts in the spiritual life,[Internet] <http://muse.jhu. edu.arts.idm.oclc.org/journals/logos/v009/9.3cole. html> Accessed 02/08/2013]
Lynch, David, (2006), Catching the big fish, London, Penguin Group
Darton, Longman,(1974) The Jerusalem Bible (Popular Edition), London, published by Dartman, Longman and Todd.
Michelangelo, Buonarotti,(MCMLVIII) The Sonnets of Michelangelo, London, Bradford ,Vision Press Ltd.
Deavel, Catherine Jack, Why the church needs art; The liturgical and theological Aesthetics of Pope benedict XVI Logos; A journal of catholic thought and culture, Volume 5,Number3, Summer 2002,pp216-220 [Internet] <http://muse.jhu.edu.arts. idm.oclc.org/results> [Accessed 24th July 2013]
Millaire, Roland, 2013,The Sacred is still beautiful; The liturgical and theological Aesthetics of Pope benedict XVI Logos; A journal of catholic thought and culture, Volume 16,Number1,Winter 2013,pp101-125 [Internet] <http://muse.jhu.edu.arts. idm.oclc.org/results> [Accessed 19th July 2013]
Edwards, Betty, 1987.Drawing on the artist within. London. Sydney. Glasgow. Auckland, Johannesburg. William Collins & Co.
Petherbridge, Deanna, 2010 The Primacy of Drawing New Haven and London. Yale University Press
Emmerich, Anne Katherine 1954 The life of the blessed virgin Mary, London, Burns and Oates. Haldane,John. 2002. Art and vocation. Logos A journal of catholic thought and culture, Volume 5, Number3, Summer 2002,pp 224-228.[internet] <http://muse.jhu.edu.arts.idm.oclc.org/results> [Accessed 23rdJuly 2013] Hlavajova, Maria, Lutticken, Sven ,and Winder Jill, Editors [2009] The return of religion and other myths: a critical reader in contemporary art, Utrecht Holland, BAK
Richardson, Hannah (10/06/13)A million children growing up without fathers. [Internet] Available from: <http://www.bbc.co.uk/news/education-22820829> [Accessed 02/08/2013] Sacks, Rabbi (Sep 2012) Science v Religion [Internet] Available from <http://www.bbc.co.uk/iplayer/ episode/b01mqvmv/Rosh_Hashanah_Science_vs_ Religion/> [Accessed 02/08/2013] St Theresa of Avila (2007) The Interior Castle. New York and London, The Dover thrift edition. Steiner, Rudolph 1910 ‘The way of initiation or how to attain knowledge’ pp56 [Internet] <http://babel.hathitrust.org/cgi/pt?id=uva. x000596536;view=1up;seq=65> [accessed 23rd July 2013]
Hockney, David, 15/01/2012 New ways of seeing, BBC3 Radio [internet Radio] Available at <http://www.bbc.co.uk/programmes/ b0195pyy/broadcasts> [Accessed 15/01/2012] Jill Bolte Taylor’s stroke of insight’ Feb 2008 [podcast lecture] TED available from <http://www.ted. com/talks/jill_bolte_taylor_s_powerful_stroke_of_ insight.html> [Accessed 29 July 2013]
Steiner, Rudolf (1998). Art as spiritual activity, New York, Anthroposophic Press. UAL RMIT 2012 Drawing Out conference (UAL
11
RMIT collaboration) Petherbridge,Deanna 2011’The excercise of skill a punishable offence’ UAL,London. Uhrmacher,Bruce. ‘An environment for developing souls; The Ideas of Rudolph Steiner’ Chapter 5 pp201-202 [Internet] <http://ehis.ebscohost.com.proxy.cecybrary.com/eds/pdfviewer/ pdfviewer?vid=6&sid=97f2f317-6307-48a5-bda6-c8 83f0d5130e%40sessionmgr15&hid=116> [accessed 23rd July 2013]
Images Arguello, Kikko. Last updated 25 July 2013 [internet wiki] Available from < http://en.wikipedia.org/wiki/ Kiko_Arguello> [accessed 29 july2013] Colonna, Vittoria. Last updated 18 July 2013[internet wiki] Available from<http://en.wikipedia.org/ wiki/Vittoria_Colonna.>[accessed 29 July 2013] Steiner, Rudolf. Last updated 26 July 2013[internet wiki] Available from <http://en.wikipedia.org/wiki/Rudolf_steiner>[accessed 29 july2013] Valtorta,Maria. Last updated 25 July 2013 [internet wiki] <http://en.wikipedia.org/wiki/Maria_Valtorta> [accessed 29 july2013] Zuccaro,Federico.Last updated 24 July 2013 [Internet wiki]<http://en.wikipedia.org/wiki/Federico_ Zuccari> [accessed 29 july2013] All other images are the authors own.
12
Stephen Myers BA (Hons) F R S A issuu.com/stephenmyers
13