Spirituality

Title:

Unravelling The Intersections Between Violence, Art And Spirituality: The Role of Art Therapy and Pursuit Of Peace Through Art

Author: Publication Year/Date: May 2024

Kayla Gillan

Document Version: Fine Art Hons dissertation

License: CC-BY-NC-ND

https://creativecommons.org/licenses/bync-nd/4.0/

DOI: https://doi.org/10.20933/100001303

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UNRAVELLING THE INTERSECTIONS BETWEEN VIOLENCE, ART,AND SPIRITUALITY: THE ROLE OFART THERAPYAND THE PURSUIT OF PEACE THROUGH ART

Fine Arts (Hons)

Adissertation submitted in partial fulfilment of the requirements of a Bachelor of Arts (Hons) degree in Fine Art.

Duncan of Jordanstone College of Art & Design The University of Dundee Dundee, Scotland

Word Count : 7697

Abstract

This dissertation examines the intersections of violence, art, and spirituality. exploring the question of how art and spirituality can help people to process and recover from the trauma of violence, as well as enquiring into if art and spirituality can promote peace on various levels. Chapter 1 explores the impact of violence, while Chapter 2 focuses on describing the different types of violence, that is explored through the culture of art. This is done through the analysis of different artists that explore this theme in unique ways. Chapter 3 starts to discuss the topics of art therapy and activism, implying the importance of art in its ability to heal the trauma of violence, Alongside art activism that is a powerful promoter in messages of peace and nonconflict on a collective scale Chapter 4 begins to explore the relationship between art and spirituality Analysing how it combines, through contextual awareness of the evolving role of this topic, in society and art based culture. Before combining the themes of violence, art, and spirituality together through mindfulness and mindfulness-based art therapy, which can mitigate the impacts of violence. Its effect can reach further than this, through the promotion of peace in an inner and outer level, preventing violence, while promoting healing through introspective exploration of self.

Keywords: Violence,Art, Spirituality, Trauma, Peace, Art Therapy, Mindfulness

List of Illustrations

Chapter 2

Fig. 2.1: Francisco Goya, ‘The Third of May 1808’ (1814)

Fig. 2.2: Bahadir Baruter, ‘When Your Father Arrives Home in the Evening’ (2012)

Fig. 2.3: Sachiko Abe, ’Cut Papers’ (2010)

Chapter 3

Fig. 3.1: JR, ’Déplacé·e·s, Turin’ (2023)

Fig 3.2: JR, ‘Déplacé·e·s Valeriia’ TIME magazine cover (2022)

Chapter 4

Fig. 4.1: Michelangelo, ’ The Creation Of Adam’ (1508-1512)

Fig. 4.2: Hilma Af Klint, ‘The Ten Largest, No.2, Childhood’ (1907)

Fig. 4.3: Alex Grey, ‘Cosmic Creativity’ (2012)

Chapter 5

Fig. 5.1: Yayoi Kusama, ‘Anatomic Explosion On Wall Street’ (1968)

Fig 5.2: Yayoi Kusama, ‘Infinity Mirrored Room’ (2018)

Introduction

The world seems to be experiencing more violence than ever before. Over a millionpeople are seriously injured as a result of different types of violence every year with tens of millions suffering other injuries (WHO, 2021). The resulting trauma, especially for children, leads to mental illness, suicide, smoking, alcohol, drug abuse, heart disease, diabetes, cancer, poverty, crime, and more violence (WHO, 2021). Violence is one of the leading causes of trauma and acts as a catalyst, extending its impact beyond violent events or behaviours to a continuing cyclical pattern of harm. This dissertation will focus on understanding the role of violence and its impacts on people and if or how art has the power to heal trauma and even prevent violence

This dissertation will explore approaches to healing and provide knowledge to allow people to progressively find pockets of peace within their chaotic existence. This dissertation will focus primarily on art and the powerful use of creative expression to heal. The following chapters will examine the different types of violence, expressions of art related to violence, art therapy and art activism, spirituality, and the possibility of mindfulness-based art therapy (MBAT) to heal trauma and lay a foundation for non-violence and peace.

The art world as well as art-based psychotherapies have shown a powerful desire for change and need for communication that goes beyond verbal articulation Advocating for the prevention of violence, alongside the healing of trauma within our society. So this dissertation will examine how the topic of spirituality ties into the world of art and violence, alongside the promotion of peace through art Due to the diverse nature of spirituality, there will be a focus on the various categories that exist within it. This allows one to understand its underlying meaning as well as its place within society. Throughout the dissertation there will be an emphasis on how artists have used these themes to explore their relationship with the infinite expanse of our existence, with a search for purpose and meanings. While also presenting the evolving status of spirituality within the art world. This will help us unravel the intersections of violence, art, and spirituality, as they come together within MBAT.

Chapter 1: Violence

Violence has existed within humanity since the beginning of our existence on earth (Walker, 2001). Thishasbeendocumented since prehistoric times,where archaeological evidence found injuries that indicated harm caused by manmade weapons or through injuries indicating acts of cannibalism (Villa, 1992). Archaeologists have also discovered the construction of defensive and fortified structures, aswell as massburial sites where violent injurieswere commonamong the skeletal remains (Fry and Souillac, 2023)

The World Health Organisation (WHO) defines violence in modern times as: “The intentional use of physical force or power, threatened or actual, against oneself, another person, or against a group or community, that eitherresultsinorhasa highlikelihood of resulting in injury, death, psychological harm, maldevelopment or deprivation” (Hamby, 2017). Violence thrives within our society in different forms with the WHO defining these as: Collective, interpersonal, and self-directed, (WHO, 2002)

Collective violence can be divided into political, economic, and social and involves groups or communities committing acts of violence towards other groups. This type of violence can have various motivations; however, the reasoning is usually coordinated. Some examples of collective violence include: war, terrorism, revolution, riot, coup, and ethnic conflict. Interpersonal violence focuses on violence inflicted by one individual or small group on another. Forms of this type of violence include child abuse, elder abuse, bullying, domestic violence, rape, and sexual assault, to name but a few. While self-directed violence includes self-harm and suicidal action that resultsinphysical self-harm,deathbymisadventure,or death (WHO, 2002) Given these various types of violence there must also be a review and consideration of the impact of violence and the lasting and destructive effects, such as trauma. Trauma refers to a strong emotional response to a distressing experience within an individual’s life (Luckhurst, 2013) This can reduce people’s ability to cope and negatively affect their physical and mental wellbeing. For example, they may develop anxiety, depression, and experience greater levels

of stress. There could also be physical effects such as sleep disorders and impacts to heart function. Substance abuse has also been found to be higher amongst those who have experienced trauma (SAMHSA, 2022).

Chapter 2: Types of Violence and their Expression Through Art

Due to the prevalence of violence and trauma in our society, it is important to investigate the intersections of violence and art. This can reveal the components that inspire artists to explore this topic through their various creative outlets. One reason that artists may express violence is to raise awareness, while advocating for the prevention of, in particular, collective violence This allows for others to reflect on the societal issues that arise from this level, while creating a voice for those who are directly affected.

Artists also approach this subject with the purpose of exploring the inner working of violence that has occurred throughout history/modern day, looking into the aesthetic aspects that occur from inside the source, presenting unseen knowledge to the viewer through their art (Stengel, 2018). Another way that artists respond to violence is through the creation of art that can highlight their interpersonal or personal experiences, providing them with an outlet for the trauma that has resulted from violent events in their life. The topic of violence within a contemporary setting has provided a plethora of artwork with different objectives and goals with its creation (Gussak, 2022).

To understandthe intersectionofviolenceandart,itisimportant toinvestigate artists who have explored the topic through different lenses to gain a clear understanding of their motivations and intentions surrounding the theme of violence The rest of this chapter will investigate different artists and their artworks. Each of them depicts violence in its various forms, with varied reasons behind the creation of their artwork.

Collective Violence

The first aspect of violence is collective violence, with the main focus being the subject of war. One artist that has created artwork based on collective violence, with particular focus on war isthe artist Franscisco Goya,bornin 1746 inFuendetodos, Spain.Hisartworktitled ‘The Third of May 1808’ (figure 2.1) made in 1814, is particularly important when analysing how art has depicted the horrors of war within history. It depicts a scene from the Spanish resistance, as they face the Napoleonic armies during the occupation of Madrid in 1808. Goya presents a brutal portrayal of mass execution of Spanish insurgents by Napoleon’s firing squad The creation of this painting was unique in its time, as it diverged from the standard religious artwork and historical representations of war art at that time.

The painting feels deeply honest in the reality of war it depicts and tragically raw in the way that the artist expresses his emotions through the paint. As we gaze upon this image we see within the centre of the painting’s composition, a man with a white shirt who seemingly radiateslight from hisverypresence, asa lantern reflectsprimarilyupon him.Withthe creation of this figure, he is made to represent more than just the conflict between two sides but a sense

Fig 2.1: Francisco Goya, ‘The Third of May 1808’ (1814)

of divine intervention. We can see this as we look at the details of his hands. Here we see two stigmata wounds shown as the outstretched arms reach out in the form of sacrifice, mirroring the pose of Jesus Christ as he is laid upon the cross. As he looks towards other figures their emotions are hidden from the vieweras darkness bathes their backs. His expression swirls with emotion representing the depth of humanity when faced against acts of violence.

This painting is regarded as one of the most chilling anti-war images ever created, becoming a staple artwork within art history with its influence having a lasting effect on the culture of art. This can be seen within other paintings such as ‘the Massacre in Korea’ by Pablo Picasso and ‘VietnamII’ byLeonGolubwho referto‘Third ofMay’asthemaininspirationinthe depiction and stylisation of his artworks. Goya’s painting continues to inspire people to advocate for justice As it continues to stay relevant within our modernera, we are remindedto stay resilient in our morals towards non-violence and peace, showing the importance of art in expressing our thoughts and feelings towards collective violence.

Interpersonal Violence

A harrowing example of interpersonal violence is child abuse. Bahadir Baruter presents an inside perspective of this form of abuse and its resulting trauma. Born in Ankara, Turkey in 1963, Baruter graduated from Mimar Sinan fine arts university before becoming a cartoonist. His exhibitions ‘Your FamilyIs a Lie, Dear’ (2012) and ‘Home Sweet Home’ (2014)presented in the X-ist gallery in Istanbul, Turkey, diverts from the artist’s comic style and addresses the issues of interpersonal violence within a family setting. Baruter gives an introspective view into the theme of family within both of these exhibitions. His work looks behind the façade of normalcy, which concealsthe deep-rootedsense of trauma andabuse festering behindthe walls of homes, or as Baruter calls them “Haunted Temples.” (Baruter, 2012). His digital artwork titled ‘When Your Father Arrives in The Evening’ (Fig 2.2) in particular, depicts the image of a young boy as he connects to the viewer with a piercing gaze of despair, speaking volumes in ways that words cannot suffice. The use of a murky green colour throughout the painting presents a sickly atmosphere that infects those who see it. The title itself implies the dread that the young child feels as his father arrives home to their haunted temple. The artwork appears to show the boy sinking below the surface in an attempt to hide from the harm that awaits him.

This image presents a haunting view into the reality of psychological and physical familial abuse hiddenwithin the confinesofmanyhomes,while leavinga markwithin usas we become directly involved within the traumatic world that is depicted.

Self-directed Violence

The last form of violence is self-directed. One artist who gives particular insight into selfdirected violence is Sachiko Abe, who was born in 1975 in Nara, Japan. Abe’s series of performative-based artworks titled “Cut Papers” (Fig 2.3) focuses on self-harm. This artwork invites the viewer to gaze upon Abe, as she meticulously cuts thin strips of paper for hours on end, until they start to form various shapes and forms that move fluidly, while the paper itself starts to transform the space into a reflection of the artist’s own mental state of calmness, as she repeats this task in a meditative manner. This method of creation began when the artist was in her 20s as she struggled with self-directed violence and worsening mental health, resulting in her being admitted to a psychiatric institution (Boucher, 2023). While in the hospital she

Fig. 2.2: Bahadir Baruter, ‘When Your Father Arrives Home in the Evening’ (2012)

began the process of paper cutting to help alleviate her thoughts of self-harm and suicide. Due to the therapeutic nature of cutting paper that helped her heal from thoughts of self-directed violence, she has continued this creative outlet for approximately 10 hours a day for around 14 years, using roughly 42,700 sheets of paper Abe’s performative work clearly shows the transformative healing nature of creative expression (Burton, 2023).

Chapter 3: Healing the Trauma of Violence through Art Therapy and Activism

The previous section highlighted the power of art to express trauma resulting from different types of violence in inspiring, informative, and healing ways. Art allows the artist and the audience to explore areas of trauma connected with violence through methods that transcend the use of words It is clear that creative expression can benefit society and individuals, with psychologists recognising and harnessing this power.

Fig. 2.3: Sachiko Abe, ’Cut Papers’ (2010)

Healing Trauma through Art Therapy

During the 1940s, the American psychologist, Margaret Naumburg, introduced clinical case studies of ‘dynamically oriented art therapy’. This involved the combination of psychological theories, with focus on the theoretical framework of the unconscious, proposed by the psychologist Sigmund Freud, and the use of the visual arts (Junge, 2015). Naumburg (1958) explained that the importance of this therapy “is based on the recognition that man's most fundamental thoughts and feelings, derived from the unconscious, reach expression in images rather than words” (Nguyen, 2015) which highlights how art, at a cultural and societal level, can establish a sense of expression that transcends verbal communication and understanding. Naumburg isa founderofarttherapywithinpsychology,leadingtotheuse ofarttherapy within modern healthcare (Junge, 2015)

British Association of Art Therapists (BAAT), (2019) defines art therapy “as a form of psychotherapy that uses art media as its primary mode of expression and communication” Art therapy cantake different forms includingvisual arts, dance, music, and drama, with all aiming to improve the client’s physical and mental wellbeing (MIND, 2021) Those who partake in this form of therapy do not need to have specific skills within the different mediums. An art therapy practitioner aims for their clients to express themselves in their own creative ways in a safe environment. Through delving into art making that emerges from the subconscious the qualified art therapist can apply psychiatric care based upon psychodynamic viewpoints and processes (Hu et al, 2021).

Clinical studies of the use of visual art therapies have shown positive results in both physical and mental conditions. A systematic review of 27 art therapy studies (Regev & Cohen-Yatziv, 2018) found benefits to include an increase in the quality of life and the psychological health of cancer patients (Svensk, 2009); an improvement in self-image, cognitive abilities and emotional contentment in trauma victims (Kopytin & Lebedev, 2013); a decrease in depressive symptoms for women experiencing depression (Thyme, 2007); an increase in sociability,

mental alertness, social and physical engagement in elderly individuals with dementia (Rusted, et al. 2006); and an improvement in overall mood as well as a decrease in depression for prison inmates (Gussak, 2009). Two of the studies showed the healing of trauma resulting from collective violence, as well as the exploration of effective art therapy within the prison system, through the studies conducted by Kopytin and Lebedev in 2013 (Kopytin & Lebedev, 2013), which focused on the use of art therapy with veterans of war As well as the study conducted by Gussak in 2009 (Gussak, 2009), that presented the benefits of art therapy with both male and female prison inmates. Prisons hold people who commit acts of violence, therefore, it is interesting to see the use of art to delve into the subconscious of inmates, to help them uncover areas of trauma that may have sparked their violent behaviours or actions.

Promoting Peace Through Art Activism

The previous sections have focused on the cultural significance of violence and its purpose within the art world as well as the use of art to heal from the negative impacts of violence in a psychological setting. However, what is missing is the communicative and joined effort within art that promotes messages of peace and the resolution of conflict. This can be seen through art activism and collective-art group projects, as they directly oppose various forms of violence in unique ways. Collective art activism can be seen as the antithesis of collective violence (Dufour, 2002)

Art activism combines the powerful influence of art with the ideals of activism, lacing them together to create emotionally charged and creative representations of a combined need for change. It directly involves humanity’s dependent need for culture in a world that lies in a state of societal and political unrest (Duncombe, 2023). Individual acts of artistic activism play a positive role within the promotion of peace, however it is also important to explore collective art activism, asa combined effort andshared mindset can create a message ofchange and reach more ears, while directly targeting societal and cultural problems (C4AA, 2018)

Key examples of collective art activism are the art projects curated by the photographer, activist, and street artist ‘JR,’ who was born in 1983, in Paris, France. JR is a pseudonym that

the artist uses to hide his identity. The pseudonym allows JR to be a platform for anyone to use, as his work embodies a set of combined, universal morals JR uses art in a way that brings a sense of connection and hope to struggling communities (Bambic, 2014), involving them directly in his art projects. This can be seen within his art projects titled ‘Déplacé·e·s’ (20222023)(Fig 3.1) Thisseriesof projects focusedon bringingawarenessto the millionsofrefugee children around the world and the communities they reside in. Visiting locations such as Ukraine, Rwanda, Mauritania, Columbia, and Greece, he reveals a selected image of one refugee child from each location. The images were printed onto large tarpaulins, held up by volunteers from these communities. The images display a sense of innocence that resides in the heart of the children This innocence and the sense of hope that emanates from them is held up figuratively and literally by the people around them. It speaks, on a fundamental level, the hope that remainseven intimesof conflictand unrest.The image from Ukraine titled‘Valeriia’ washighlighted by TIME magazine (Fig 3.2),asitsfront cover in their March-April 2022 issue (JR, 2023).

Fig. 3.1: JR, ’Déplacé·e·s, Turin’ (2023)

Fig 3.2: JR, ‘Déplacé·e·s Valeriia’ TIME magazine cover (2022)

JR wishes to be used as a vessel to promote a collective message of peace and equality for those who cannot be heard. He captures the negative effects of violence, poverty, segregation, and conflict, especially for minorities in different communities through his hands-on approach to art activism at a collective level JR proposed that although activism through art cannot immediately dissolvetheissuesthat plaguethe world,we can collectively join together through visual art, tospread awarenessand optimism towardschange andpeace. Collective art activism can spark a gradual change in society, inspiringotherstospeak upon worldwide issues through acts of art activism or other means (Hobbs, 2021).

Chapter 4: Art and Spirituality

Although the previous sections explore the ideas of healing from violence and trauma art activism was also investigated as it begins to inspire conflict resolution, preventing violence and trauma in the first place is the ideal. One way to understand how to prevent violence in society is through spirituality and the artwork embodied in spirituality.

Atitsfoundations,itisgenerallyagreedthatspiritualityistheexploration of“one’srelationship with the infinite” (Willis, 2000), presenting an attitude or way of life that aims to discover the meaning of existence. It promotes sets of values that people can use to navigate the complexities of life while exploring questions of the reality they live in. Spiritual lifestyles and ways of thinking can produce a sense of unity with all that exists, promoting feelings of compassion and empathy

Art intersects withthe various forms of spiritualityin fascinating ways. The way artists express spirituality is not singular in nature, it is broken down into different branches of creative expression.Artistswill oftenfocuson distinct categoriesthatfall underthetheme ofspirituality with work being seen through art history, as well as in the modern era. (Goud, 2020).

Types of Spirituality

It is important to investigate the various categories that have developed within spirituality to gainunderstandingofthe keythemes andmeaningsof the word aswell as what separatesthem. The categories of spirituality include Traditional, mystical, philosophical/intellectual, and new age

Traditional Spirituality

Traditional spirituality refers to the personal experience of one who follows religious practices and traditions to express their spirituality, usually in reverence to a divine source. Religion presents teachingsbased uponhistorical frameworksthat one canfollowina community-based space, dedicated to the specific religion or by individuals within a prescribed lifestyle Traditional spirituality focuses on the personal inner journey of the individual and their path towards connecting to the divine, which is worshipped within their religion. It does not focus on set traditionsor societal rules butontheindividualisedexperienceoffaiththatallows people to connect to something greater (Sheldrake, 2012) Religion has direct connections to the concept of spirituality. The word itself originated within Christianity from the Latin adjective ‘spiritualis’ used to refer to someone who ‘sought to live under the influence of god.’ Spirituality became a foundational aspect of organised religions such as Judaism, Islam, Hinduism, and Buddhism. The spiritual aspect has remained throughout the evolution of all of these religions (Niekerk, 2018).

Mystical Spirituality

Mystical spirituality originates from the concept of ‘Mysticism,’ which is the label given to cover mysterious concepts, that have direct insight to otherworldly aspects of existence. It describes the pursuit of unity with a force that is greater than our physical reality, aiming for a direct form of communication with a divine presence that goes beyond human comprehension (Yaden and Newberg, 2022) Mysticism has been used in religious and non-religious settings for centuries It involves the use of intuition when trying to decipher knowledge received from a divine source, which results in the knowledge becoming esoteric in nature.

An individual that practices mysticism will often use personal information gained from communications to evolve their consciousness and understanding of the universe. A common experience arising from this knowledge is a sense of harmony with all of existence, creating a form of oneness that inspires feelings of love and understanding for the known/unknown aspects of reality (Holm, 2009). Mystical spirituality focuses on the inner journey towards divine enlightenment, through direct connection with the divine

Intellectual/Philosophical Spirituality

Intellectual/philosophical spirituality is unique as it focuses on the contemplative search for meaning and knowledge relating to humanity and existence. It emphasises the use of critical thinking and intellectual awareness when participating in spirituality. Those who practice this form of spirituality draw from various sources to support questions of the basis of spirituality. Knowledge can be drawn from academic disciplines like psychology, literature, philosophy, and the natural sciences, for example. Drawing from these sources helps to strengthen their relationship to a greater source within our unknown/known universe (Sheldrake, 2012).

One example of intellectual/philosophical spirituality isanthroposophy, which was founded by Rudolf Steiner in the early 20th century. This spiritual movement merged insight from various academic sources such as the natural sciences and the arts, while taking foundations from the philosophies of Plato and Aristotle alongside the belief that human intellect is the direct source from which the divine can be connected. This form of philosophical spirituality aims to inquisitively explore the individualised evolution of inner spirituality focusing on a sense of humanity and freedom.This is paired with the exploration of knowledge and research to reflect on deeply spiritual questions of reality (Britannica, 2023). Another philosophical movement is theosophy. This form of philosophical spirituality began to emerge in 1875, through the establishment of the Theosophy Society founded by Helena Blavatsky. It focused on the teachings of divinecommunication through personalinvestigation,through esotericormystical means, alongside other individualised methods. It encouraged the search for knowledge and learning of world culture through established religions, sciences, and philosophies (Rudy, 2019).

Age Spirituality

Lastly, new age spirituality developed in the 20th century and is a new category with a unique understanding and interpretation of spirituality. It does not have a set structure founded on originating texts or founding figures, as it is highly individualised and evolves from personal experience New age spirituality refers to an eclectic set of beliefs that resonate most with the individual and is derived from different types of spirituality or specific practices that align with personal spiritual views.

Within new age spirituality there is a common belief in an interconnected sense of unity in all that exists, with the goal for humanity being to restore this lost sense of harmony in ourselves and others. The divine is also believed to not be a separate entity but instead exists in every known thing in our universe. A follower of this belief will often start on a journey of enlightenment to rediscover this divine energy. An example of some of common new age practicesinclude holistic living, manifestation or lawofattraction,alternative formsofhealing, yoga, meditation, the use of crystals, the promotion of empathy and compassion, astrology, as well as some forms of traditional occult practices like divination (Sutcliffe, 2014).

New age spirituality started to gain popularity in the 1960s, possibly due to the development of ‘hippie culture’, alongside the rise of psychedelic drugs that were used to reach higher states of consciousness during a time of extreme violence and trauma. The Vietnam war as well as discrimination and racism were prevalent during this time. this violence sparked a collective need for change, promoting the spiritual values of unity, love and peace that found form through activism. From then on, this form of spirituality continued to develop within modern society (Collins, 1998) The name ‘new age’ has astrological significance to those who follow this movement. This is due to the belief in different astrological ages that cause different effects, determined by the position of the vernal equinox. It should be mentioned that this concept does not have strong scientific evidence but is instead symbolic in nature The followers of the new age movement believe in the transition from the ‘Age of Pisces’ to the

‘Age of Aquarius,’ with this believed to bring an era of spiritual evolution within humanity (Melton, 2023).

There is also a large focus on humanistic psychology within new age spirituality focusing on the exploration of one’s psyche through the journey of self-expression, used as a way to progressmental andphysical well-being, throughactsofmindfulness andmeditation; practices that can be done in a non-religious manner These practices allow people to explore the depths oftheirsubconscious,illuminatingandcommunicatingwithareasofknowledgethatgobeyond their pre-conceived notions of self This allows them to gain a sense of clarity, inner peace, and presence in the existing moment. By healing a false sense of self with mindfulness and meditation, there lies the belief that it will help new age followers reach a higher level of consciousness In turn, helping to change their own and other’s negative perspectives of society, encouraging a sense of unity, that can start the process of healing on a wider scale (Schwimmer and McDonough, 2018)

Spirituality and Art

It is clear that spirituality and art build on each other, with art being an influential factor in the development and evolution of each type of spirituality. In the following sections, this intersection will be examined.

Traditional Spirituality Artwork

The traditional form of spirituality, as mentioned previously has strong cultural ties to every form of religion. Artists throughout history have expressed their devotion to their religion through the creation of visual imagery based on their religious ideologies. This is done for a variety of reasons, some examples can include: spiritual worship as a way to create communication and connection with the divine or higher forces or as an educational tool, documenting the teaching of the religion in a visual manner to be transmitted over time Religious art can also be created for a symbolic or ritualistic purpose, inspiring mindsets of reflection and contemplation for the religion’s followers as they focus on their individualised

experience (Arya, 2016). It is important to mention that certain religions have gone through or have established opposition to artistic expression and iconography based upon worshipped figures or beliefs. This is known as ‘aniconism’ and is particularly important in certain Islamic and Jewish traditions (Britannica, 2016).

For traditional spirituality, there will be a focus on the artist Michelangelo, born in 1475 in the Republic of Florence His culturally renowned painting ‘The Creation of Adam’ (Fig 4.1) was created between 1508-1512 and is housed in the Sistine Chapel. ‘The Creation of Adam’ depicts Michelangelo’s image of God as they reach their hand down towards earth to spark the creation of human life, which is presented in the form of Adam, who is reaching towards god. Thisimagery originatesfrom Biblical storiesofcreation,from ‘The Book ofGenesis.’ Through viewing Michelangelo’s masterpiece, it is clear to see his devotion and worship of god through the intense detail and care that was poured into its creation. however his idea of faith did not rely entirely on the church Instead, he believed that the source of connection came from the direct, individualised communication with God. Which connects to the ideology surrounding traditional spirituality (Porter, 2013)

One theory that has arose from the visual subject matter, alongside Michelangelo’s work as an anatomist, is that the area that shapes the imagery of God, bears a striking resemblance to the structural anatomy of the brain. This was proposed by Frank Lynn Meshberger, MD in 1990. they observed how the imagery of God lays directly upon the Limbic System, an area of the brain that controls our sense of emotions alongside what many of us would call, the preconceived notion of the human soul (Meshberger, 1990) So what does this imply ? it could be ascertaining to how one’s own spiritual connection to the divine can be established though the exploration of our own subconscious, allowing a line of communication to a power that is higher than that of man. It has also been hypothesised to be highlighting that Gods greatest gift to humanity is our intelligence and sense of spirit

Mystical/Philosophical Spirituality Artwork

One artist explores aspects of both mystical and philosophical spirituality within their art practice and encapsulates the use of art within these categories. This artist is Hilma Af Klint, born in 1862 in Solna, Sweden. She originally focused on painting romantic-style portraits and landscapes, before she began to follow the philosophical theories of theosophy, after joining their society in 1889. Through their encouragement she explored knowledge within a variety of different religions such as Buddhism. After being inspired by this form of spiritual philosophy, she began to perform seances with four other artists that together, with Klimt, would form a secret group known as ‘the five.’ This group would join together to pray and meditate in altar-like spaces, allowing them to enter trancelike states where they would communicate directly with a higher source that would guide them in their artistic processes. The artwork that Klint produced, channelled mystical spirituality. As shown through her direct line of communication with a divine presence, allowing her to learn esoteric information and

Fig. 4.1: Michelangelo, ’ The Creation Of Adam’ (1508-1512)

directing her to relay this knowledge in a visual format (Carter 2020). This resulted in the creation of over 1,000 paintings alongside a variety of notes and sketches.

Klint’s artworks often depicted a vibrant, living array of shapes and pattern that had the ability to form their own alternate dimension from light and colour, as seen within her artwork titled ‘The Ten Largest, No.2, Childhood’ made in 1907` (Fig 4.2). Her art embodied the style of abstraction even before founding artists like Wassily Kandinsky. She instructed her family to not present her art until 20 years after her death in 1944. As Klint, alongside the founder of the anthroposophy society, Rudolf Steiner, stated that the world was not ready for the spiritual knowledge her work would present. Her works were not shown until 1986, decades after her death, when it thrust Klint’s name into the spotlight, cementing her in art history as the mother of abstract artwork (Sherlock, 2016).

Fig. 4.2: Hilma Af Klint, ‘The Ten Largest, No.2, Childhood’ (1907)

New Age Spirituality Artwork

Art from new age spirituality is continuing to evolve in its presentations and meanings This is due to the eclectic nature of new age spirituality as well as the adaptive energy of art to change with the times (Arya, 2016). Alex Grey born in 1953 in Columbus, Ohio, is a new age spiritual artist who has emerged during this era. His artwork displays his relationship with spirituality, presenting the nature of consciousness within mystical visuals. Working with a variety of mediums, Grey creates a living source of spirit in his work that transcends our reality, through the presentation of otherworldly imagery (Grey, 2023) To best describe the ideologies that inspire Grey’sartwork, Grey statedduringhis TedTalkthat ‘Artisanecho of thecreativeforce that birthed the galaxies. Creativity is the way that the cosmos evolves and communicates with itself. The great uplifting of humanity, beyond its self-destruction, is the redemptive mission of art’ (TedTalk, 2013). An artwork that directly reflects this is ‘Cosmic Creativity’ from 2012 (Fig 4.3). We can see the eye of the cosmos as it watches and relays information that is full of colour, light, and pattern, directly into the human mind. Once that message is received within their consciousness, the artist depicted in the painting, uses this spiritual knowledge to present unique visual imagery.

4.3: Alex Grey, ‘Cosmic Creativity’ (2012)

Fig.

Art involving spirituality aims to understand and articulate, the need to seek and connect with a higher power, through new knowledge and visual information. This search helps people to rationalise the meaning of the universe. By doing so, artists are able to create a line of open communication with a source greater than themselves, providing a space for contemplation, inner reflection, healing, and transcendence for others (Arya, 2016) The artist Wassily Kandinsky in hisbook ‘Concerning the SpiritualWithinArt’ (Kandinsky, 1977) described how “we have before us the age of conscious creation, and this new spirit in painting is going hand in hand, with the spirit of thought towards an epoch of great spiritual leaders” (Kandinsky, 1977). It can be argued that the creation of art itself is a spiritual endeavour. This does not, necessarily, apply to art that is created for materialistic or capitalistic gain with no intentional source of self, applied to the work. While this style of art has purpose and value, the spiritual aspect of art lieswithin artworkthat iscreated directlyfrom the heart, mind, orsoul. By delving into our unconsciousness, we retrieve parts of ourselves that can be applied creatively in a physical form, which in turn can inspire contemplation and sense of understanding with the preconceived notion of self (Farrelly, 2001) Humanity as a whole has the ability to express this united sense of spirit. By exploring this aspect of ourselves through art and visual expression, we candirectly reflect ourownspirituality,bethatthrough religious,non-religious, mystical, philosophical, or psychological means

Chapter 5 Violence, Art, and Spirituality

Having identified how art in its varying forms, intersects and interacts with violence and spirituality, this concluding section will identify how art can connect these two topics, while also promoting non-violence and inner/outer peace Violence and its different forms and impacts are prevalent within our society. Violence leaves a direct mark of trauma on those who have experienced its destructive nature, aswell asthose who see the direct effect on its victims. It leaves wounds, scars on the world, and settles in the hearts of humanity. How is it possible to help alleviate its effects within ourselves and others and directly heal our society from such a powerful and destructive force? It is clear from the previous examples that art, art culture,

and art psychotherapy, have created space for expressing and healing in individualised and collective ways from acts of violence. But is it possible to go further into the consciousness of humanity, directly targeting the catalysts that cause violence to continuously arise. This is where the influence of art combined with spirituality come into play.

Mindfulness

To find a clear intersection between violence, art, and spirituality we return to the concept of mindfulness, first mentioned in new age spirituality. Mindfulness, within its origins in Buddhism and Hinduism (with roots in Christianity, Islam, and Judaism), arises from the Buddhist concept of ‘Sati.’ This term has been translated to mindfulness in English and is an essential aspect of the Buddhist practice towards enlightenment. Mindfulness is a practice involving the use of breathwork and mediation to gain a stronger sense of presence in the existing moment and retaining an awareness of reality to become more attentive to all sensory experiences within the mind, body, and soul. This practice allows for an individual to observe their consciousness in a non-judgmental and more objective manner, which in turn, results in a mind free from desire and discontent (Nehring, 2022).This mental state is a central aspect of the Eightfold path in Buddhism, the spiritual path towards enlightenment, otherwise known as nirvana or freedom from rebirth (Selva, 2023).

Mindfulness, as a concept, began to traverse different cultures, becoming popularised in western Europe and the US in the 1970s. Its roots within traditional spirituality remained, however, it started to evolve in its purpose, being adapted into scientific and psychological settings, as well as becoming an important and diverse practice within new age spirituality Jon Kabat-Zinn, a medical professor at the University of Massachusetts Medical School, laid the foundation for the current ‘mindfulness movement’ within psychological healthcare He was first introduced to the concept of meditation in a lecture led by Philip Kapleau, a famous zen Buddhist teacher. Kabat-Zinn was inspired to practice this concept, studying meditation alongside prominent spiritual leaders (Lazaridou and Pentaris, 2016) One figure was Thich Nhat Hanh, a famous peace activist and Buddhist monk, who promoted messages of interconnected oneness and the promotionof peace through acts of mindfulness, non-violence, and deep listening (Hanh, 2016)

Kabat-Zinn then developed a eight-week programme titled ‘Mindfulness-Based Stress Reduction’ (MBSR) combining mindful mediation, yoga, and body awareness It diluted the religious roots of Sati and established the benefits of what he named, ‘mindfulness’ within a scientific context Kabat-Zinn wantedto make the programme more accessible to others, going beyond the practice of religion itself. By doing so, he opened a new avenue of psychological help, withthe programme proving successintreating chronic pain, stress,anxiety,physical and mental illnesses among other things. He laid the foundation of mindfulness as a worldwide practice in treating issues relating to the human condition (Harold, 2023). From this initial success, mindfulness has evolved in various ways, developing into areas like ‘MindfulnessBased Cognitive Therapy’ (MBCT) created by Zindel Segal and Mark Williams in, as well as ‘Mindfulness-Based Art Therapy’ (MBAT), introduced by Laury Rappaport. The overarching idea for this dissertation is that MBAT has the ability to connect aspects of violence, art, and spirituality, by combining art and spirituality to lay the foundation of peace and non-violence.

Mindfulness-Based Art Therapy

MBAT evolved from the combined academic and psychological foundations of art therapy and MBSR. influenced by the framework found within these two forms of psychological care, MBAT establishes a form of therapy that combines the philosophy and spiritual origins of mindfulness with the healing capacity of art. It focuses on Engaging areas of the subconscious through mindful thinking, meditation and breathing work. Before encouraging the patient to create art based upon the thoughts and feelings that arise from their introspective journey of self. This method can aid the client divulge aspects of themselves that they may struggle to express through verbal articulation. It can also help the individual to consciously reflect on information that is presented within their art in a non-judgemental way, while allowing the MBAT practitioner to apply the right level of care to the patient.

MBAT has been shown to be beneficial as a form of therapy in an individual or collectivebased setting, when helping those who are suffering from trauma caused by different forms of violence. In a series of studies, Kalmonowitz (2016) and Ho (2017) investigated the effects of

MBAT with survivors of political violence. She found that the refugees taking part in the workshops left with an improved sense of resilience and clarity, with the ability to adapt, in a safe way, to stressful or triggering situation through methods learned in the workshop. Refugees also found a sense of relief in the artistic process that helped them to see things about themselves that they had not before (Kalmonowitz and Ho, 2017).

MBAT can help people heal from the interpersonal violence, such as child abuse, and the trauma that can result from it. Jaworski (2022), reviewed multiple clinical studies involving the use of mindfulness and art therapy with traumatised children. She found clear patterns of benefits, highlightinghowmindfulness-informedarttherapyprovidedchildren withacalmand stable environment that allowed them to feel safe and empowered. This, in turn, helped them to efficiently regulate and express their emotions through mindful methods of art making The children were able to gain a sense of awareness and presence, through the treatment that targeted the effects of trauma on the brain, body, and mind, within a holistic framework (Jaworski 2022).

However, research into the effects of MBAT with individuals experiencing self-directed violence are currently lacking within a clinical setting. This could be due, in part, to the recent origins of this form of therapy. If we focus on certain mental health conditions, such as depression or anxiety, that incite self-directed violence, one study by Newland and Bettencourt (2020) found that MBAT was effective in improving symptoms of depression and anxiety as well as fatigue in those with chronic medical conditions. Through this research we can see the effect of MBAT in lessening symptoms through introspective expression, allowing people to be present within their sense of self The results also show an overall improvement in quality of life and wellbeing for the patients (Newland and Bettencourt, 2020)

Another study, that highlights the potential of Mindfulness alongside art therapy, in regard to the role it can play in combating violence, is the study presented by Rosenbaum (2019). Directly focusing on the application of art therapy and mindfulness projects in prisons, targeting an area where violence can resonate. From this study it was found that the programs that focused on the use of mindfulness and art therapy resulted in incarcerated individuals

having an increase in self-awareness, social skills, and self-worth, allowing them to develop a healthy sense of self that is separate from their preconceived criminal identity withinthe prison setting. The majority of individuals who participated in these studies found the use of art makingandmethodsofmindfulness to behelpfulin the releaseofanger and negativeemotions, causing a decrease in disciplinary reports involving them (Rosenbaum, 2019).

Lastly, it is important to investigate a cultural example within the art world, which highlights all the aforementioned themes discussed. Analysing how these topics can affect an artist in theiroverallcreativeexpression.TheartistthatencompassesalltheseaspectsisYayoiKusama, born in 1929 in Matsumoto, Japan. Kusama’s childhood was plagued with trauma, due in part to the violence she faced growing up in World War 2, as well as forms of psychological abuse that her family put her through. From these beginnings, she began to experience deteriorating mental health and derealisation, causing her to hallucinate a variety of shapes with a focus on ‘the dots’ that would take over her vision.She began to create artwork inspired by these shapes as a form of therapy that would distract herself from thoughts of self-directed violence.

During the 1960s Kusama’s artwork started to take the shape of collective-art activism to protest the Vietnam war while spreading messages of peace and non-violence. This can be seen through her collective performance artwork titled ‘Anatomic Explosion on Wall Street’ (1968) (Figure 5.1). As conflict continued to infect the world, Kusama turned to spirituality to seek answers while searching for inner and outer peace. She found solace in the teachings of Buddhism, more specifically the essential attitude of mindfulness, as well as the growing movement of new age spirituality (Pachciarek, 2014).

From here,Kusama’sartwork begantoevolve intolarge-scaleexhibitions that wouldtransform an ordinary space into a direct reflection of Kusama’s consciousness. These exhibitions took the world by storm, seen through the success of her series of exhibitions titled ‘Infinity Mirrored Rooms’ ( fig 5.2) that perfectly portrays her unique use of form, colour, shape and light. Youareable toexplorethroughseveral unique rooms,all depictinga different immersive environments that comes directly from Kusama’s mind

Fig. 5.1: Yayoi Kusama, ‘Anatomic Explosion On Wall Street’ (1968)

Fig 5.2: Yayoi Kusama, ‘Infinity Mirrored Room’ (2018)

Conclusion

This dissertation set out to unravel the interconnections of violence, art, and spirituality. Violence is endemic in our society with multiple types of violence perpetrated against men, women, and children every day. Although it seems like this situation is unstoppable, with little hope in combatting the levels of violence we see today, we find hope in the art world. This dissertation has shown the potential healing factors found within the different formations of art. examples of which can be through the artistic expression of self, of collective art, art activism and spiritual practices such as mindfulness along with psychological practices of art therapy. With direct focus on mindfulness-based art therapy that combines all factors of violence, art, and spirituality. it presents real potential in helping people not only process and recover from violence and trauma, but also to curb the roots of violence within violent offenders, Through the analysis of artists and artworks that focus on these different themes, there liesa source of introspectiveexploration that allowsone tocreateartwork that exuberates a sense of deep understanding and passion within the topics they are expressing. a practice that one may argue is spiritual in nature, through its ability to bring people and communities together to promote non-violence alongside inner and outer peace Given the amount of war, violence, and trauma in the world, we need to harness the power of art culture, creative expression, and evolving forms of art therapies as a united force, against this darkness that continues to spread.

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