The Quest for Inner Freedom: An Artist’s Perspective

Abstract

The article examines my artist’s struggle for inner freedom in practice-led artistic research through the medium of drawing. This inquiry, framed within a Catholic perspective, investigates the idea that the quest for inner freedom is vital for artistic work that aims to create and communicate the ineffable. This article focuses on my strive to reach deeper levels of spiritual experience and to work from that state of consciousness. I explore the artist’s role as a mediator, connecting the invisible, intuitively understood dimensions, and making them visible through artistic creations. I conducted research by closely observing the artmaking process and the conditions in which it is undertaken. Research methodologies specific to the artistic field (visual arts) and the qualitative narrative research method were predominantly used. The process of preparation for the drawing by engaging in contemplative practice is also a subject of inquiry. The article highlights contemplative practices as tools for achieving inner freedom and unlocking creative potential.

1. Introduction

Today’s society is plagued by overwhelming fatigue caused by an excessive amount of stimuli (De Rijk et al. 1999). There is a profound mental exhaustion in individuals, which is the reason for the absence of happiness and tranquility. Contemporary individuals experience a profound sense of fatigue regarding their existence, often feeling drained and devoid of the motivation to pursue inner freedom and personal growth (Neckel et al. 2017). Human beings often experience such extreme fatigue that they may find themselves unable to continue living and consequently surrender to the hardships of life. Expecting consumer society’s novelties to fill the voids in one’s own existence falls short of its promise. The pursuit of meaning in one’s life through the consumption of the materialistic goods and services offered by society ultimately fails to deliver the benefits that are supposed to be gained from doing so (Kasser 2002; Kashdan and Breen 2007). Enlightenment’s belief in continuous progress as a source of personal meaning was called into question in the face of the threat posed by the atomic bomb, the emergence of new fears because of technology’s autonomy, and the possibility of genetic re-creation, as well as the emergence of bioethical issues that undermine humans’ clear self-perception. An excessive overabundance of material possessions, an overwhelming surplus of information, and constant exposure to media stimuli undermine human resilience, stifle creativity, and impede the fluidity of the soul, which is essential for engaging in creative endeavors. In the absence of inner freedom, an individual becomes immobilized, passively absorbing the information presented to them without any inclination to overcome their apathy. Greenberg et al. (2004) assert that an individual’s autonomy increases with awareness; they contend that awareness does not equate to freedom from determinants but rather the opposite. “In fact, with awareness, people have a better grasp of what is going on, including what is determining or influencing their behavior” (Greenberg et al. 2004, p. 474). The awareness of one’s autonomy that is possible despite external circumstances yet frequently affected by them is an important issue for humans in contemporary society. By gaining and growing awareness, a contemporary individual possessing a modicum of reason and discernment who engages with the world around them and contemplates the vast expanse of scientific inquiry finds little justification for arrogance. They can readily perceive the complexities that transcend their own existence—the profound narratives embedded in nature and the cosmos, as well as the immense vitality captured in extraordinary artworks.

Contemporary art, spanning from the late 20th century to the 21st, serves as a medium for contemplating the complexities of our existence and a platform for thinking about the world we live in. As Ben Quash stated in A Colloquy with Diane Apostolos-Cappadona, James Elkins, Ben Quash, and S. Brent Rodriguez-Plate: “Art can be made something “to think with,” or “to meet in,” in the service of some question that needs an answer, or some problem that needs repair” (Bernier and Smith 2023, p. 430). Tony Godfrey posits that art is the best place to understand what it means to be human in a rapidly changing world because, in the age of the internet, it is a place where both body and mind—thought and hand—are present (Godfrey 2020). Contemporary artists operate within a global arena characterized by growing complexity, multipolarity, and pervasive crises. Here, we begin by considering the role of artists in the contemporary realm who desire to express the ineffable through their creations. Where do they fit in amidst this cacophony, this disorder, this turmoil? What is their profession, and how can they protect their emotional and mental well-being? How can they protect themselves from that spiritual drain? It is imperative for contemporary artists who wish to grab into the realm of transcendence in their art to reconnect with their inner selves. In today’s world, it is crucial for artists to refrain from pursuing and indulging in excessive consumption of material possessions and constantly consuming news on mobile devices, expecting salvation from emptiness. Instead, it is essential to prioritize allocating time for creative pursuits and nurturing the soul’s need for freedom, tranquility, and mental clarity. Without taking that decisive action, artists, as a deep voice of humanity, remain perpetually enslaved by external distractions through media and digital virtuality, devoid of independent cognition, devoid of personal perspective, and devoid of self-identity, which undermines attempts to attain vision and gain a voice.

The examination of artistic practices in contemporary art oriented toward the spiritual realm—Jungu Yoon’s Spirituality in Contemporary Art: The idea of the Numinous (Yoon 2010), Charlene Spretnak’s The Spiritual Dynamic in Modern Art (Spretnak 2014), and Encountering the Spiritual in Contemporary Art (Fanning 2018)—reveal that a considerable segment of these artistic endeavors observes, interrogates, and engages with the spiritualities of New Age, Buddhism, Hinduism, or Indigenous spiritual practices. As Anderson identifies in his article The New Visibility of Religion in Contemporary Art: “While eschewing “organized” religion, discussions of the spiritual in art range across assorted forms of (both Western and Eastern) mysticism, archaic mythologies, shamanism, occultism, animism, necromancy, and/or magic with superficial commitments to the historical coherency or philosophical integrity of these various traditions” (Anderson 2023, p. 29). Even with the emphasis on art practices that focus on spiritual experiences outside of organized religion, the underrepresentation of Christian spirituality is an intriguing phenomenon to investigate. Looking at artworks that explore the spiritual realm as selected by editors/authors in the literature examining the convergence of art and spirituality, it appears that Christian spirituality is a discourse that very few contemporary artists are interested in investigating. This article argues that encounters with the transcendent through prayer and sacraments in the space of Christian faith can nourish a hunger for deep spiritual food, which profoundly impacts art praxis. Many artists are discovering this treasure. The rise in understanding the profundity and richness of Christian spirituality seems to be the underlying cause of this phenomenon. Elkins observed in his famous On the Strange Place of Religion in Contemporary Art that “…religion is seldom mentioned in the art world unless it is linked to criticism, ironic distance, or scandal” (Elkins 2004). The distance that the art critique up to this time holds toward art and artists exploring spiritual, especially religious, questions, as denoted in Grids by Rosalind Krauss in 1979 (Krauss 1979), may seem outdated in 2025. However, it still positions artists who operate within questions about God without cynicism as outside the mainstream. It is interesting to see new insights in recent writing about connections in the religious background and artistic practices of pioneers of abstract painting Wassily Kandinsky, Piet Mondrian, Kazimir Malevich, and El Lissitzky that seem to be hidden or unspoken of in art history narratives concerning nonobjective art (Masheck 2023). The relation between spiritual and religious beliefs and art of the 20th century and contemporary art is more profound and broader than art criticism was ready to admit for a long time.

In this practice-led artistic research (Arlander 2017), I contemplate the complexities of producing genuine art within the contemporary landscape. I explore the artist’s role as a mediator, connecting the invisible and visible realms through artistic creations. This article focuses on striving to reach deeper levels of spiritual experience that lead to humility by opening eyes toward the truth about self and the world, thus gaining greater awareness and inner freedom and working from that state of consciousness. This article considers the struggle for inner freedom that I, as an artist, must undergo to create and communicate the ineffable.

2. Struggle for Inner Freedom

The necessity for an ascetic aspect in pursuing creativity, characterized by the objective of inner liberation, is deeply ingrained in my artistic being. It is integrally linked to my creative output since the artist’s inner existence serves as a conduit for manifesting intuitive realities into matter. “The artist is not born to a life of ease and pleasure, with the right to live idly avoiding all arduous duty. Seriously, he performs a task which can prove to be his cross. Every deed, feeling, and thought form the untouchable, solid material from which his work emanates” (Kandinsky 1946, p. 94). Expanding on this quote from Wassily Kandinsky, through experience from my art praxis, it becomes evident that my thoughts and emotions transform into the essence of my art as an artists’ entire existence enhances creative endeavors. This notion provokes reflection on the degree of dedication that creativity necessitates. As a contemporary artist, I must develop a personal space, an internal sanctuary, a refuge that enables me to connect with intuition and attain a deep sense of inner freedom and integrity. A high level of ascetic adherence to the artistic process is necessary to gain and nurture this inner space. Analyzing my daily life as an artist in this research reveals that, without clearly defined objectives and a distinct direction, the effective communication of transcendent concepts to the audience through artwork is unattainable. As a contemporary artist, I require a thorough understanding of and a significant focus on the creative process in my daily activities. It is imperative to overcome superficiality and inefficiency, as time constitutes the most precious resource. This way of acting empowers me to express intuited realities—my vision—through artistic creation.

2.1. Artistic Creation and Inner Freedom

The act of artistic creation embodies the inherent demand for the freedom and playfulness that it possesses in and of itself. Observing my creative process indicates that I ought to possess a significant degree of inner freedom as an artist. The artistic creation process necessitates that I cultivate this freedom, which demands continuous effort. Within the framework of an artist seeking to align art (and life) with grace, as a disposition that enables the soul to live with God (Catechism of the Catholic Church 2019), it is essential to underscore the notion of freedom. The artist frequently encounters limitations imposed by internal and external expectations regarding their work. The freedom of artistic expression can be jeopardized by the very expectations an artist imposes upon oneself regarding the nature of their expression. In his contemplations on art and the nature of artistic creativity within his correspondence with Jean Cocteau, Jacques Maritain posits that God, beyond the realm of art dedicated to the liturgy—which inherently serves a religious purpose—does not anticipate that the artist will produce religious, “pious” art but rather art in its purest form. “The art He wants for Himself is art. With all its teeth” (Maritain and Cocteau 2014, Answer to Jean Cocteau). This notion underscores the fact that artistic creation embodies the full spectrum of human experience. The perspectives of Maritain are crucial for the contemporary artist striving to express and convey the transcendent. Examining my artistic process indicates that conventional approaches, whether anticipated by myself or the audience, may not represent the most efficacious path to create and communicate transcendent experiences through artistic expression. In discussing the divine, Maritain asserts that God has a right over boldness. He declares, “To many it should have been said: Become free” (Maritain and Cocteau 2014, Answer to Jean Cocteau). In the discourse surrounding the exchange between Maritain and Jean Cocteau, Maritain asserts that genuine art does not stem from the intention to please others. Artists possess the freedom to engage in audacious forms of creative expression. The inherent right to demonstrate boldness is intricately connected to the notion of freedom. Artists are compelled to articulate their unique perspectives with unwavering confidence, irrespective of their unconventional nature or departure from established standards. The absence of this creative freedom frequently serves as a barrier to artistic expression, resulting in a diminished quality of creative output. Creativity, perceived as engaging in profound playfulness, can be achieved by liberating oneself from unnecessary aspects of daily existence and consistently striving for inner freedom. Maritain wrote, “I expect everything from this freedom” (Maritain and Cocteau 2014, Answer to Jean Cocteau). This form of inner freedom is unattainable without the influence of a supernatural grace. It demands a keen sense of awareness and a high degree of attentiveness. In this article, through artistic inquiry, I explore my quest for inner freedom, the same freedom that Maritain highlights. This practice-led artistic research (Arlander 2017) investigates the art creation process through which I recognize the inner freedom necessary for creativity and productive artist praxis. The study encompasses the development of a collection of drawings featuring both pieces executed by traditional drawing techniques with Indian ink and digital drawings. With the artwork Struggle, which I will shortly analyze, I emphasize the idea of fighting for inner freedom.

The artwork Struggle (Figure 1) is a digital drawing created through a combination of vector and raster software and tools for digital drawing. It features a monochromatic scheme with black-and-white drawings on a gray background. Diagonal composition and the alignment of forms within the quadrat format generate additional tension. It signifies a collision between dark areas and white drawings. The gray background serves as the backdrop for the drama highlighted by the interaction between the black and white characters. The white figure in a prayer posture is concealed by a white horizontal line from a robust black form, which represents the burden of suffering. The work highlights the protective power of prayer against the onslaught of malevolence. The artwork Struggle delves into the pursuit of inner liberation amidst challenges and hindrances alongside the fight between good and evil that unfolds both externally and internally. In a critique of the work that notion is underlined: “Fighting seems to occur between two energies: one positive and one negative……In a swirling dance, these two forces struggle intermittently at the height of their energies…” (Cordaro 2024, p. 109). In this artwork, I examine the emphasis and direction toward the fundamental—foundational elements of existence and artistic expression, used as a potential avenue to inner liberation fueled by prayer.

The pursuit of inner freedom is not an aimless search for void or a conscious severance from relations. As Maritain states: “Everyone must in the end consent to be led into the desert. But we should not mistake the desert of emotion and feeling cut off from Nature for the desert of man’s spirit in its struggle with the Angel” (Maritain 1977, p. 223). On the contrary, this endeavor signifies a profound exploration of my core, more intimate relationship with the Self and the transcendence.

2.2. Contemplative Prayer as a Means of Opening the Space of the Artist’s Inner Freedom

One way to attain a state of awareness and attention that leads to the inner freedom necessary for artistic creation that aims to be synchronized with transcendent realities as a creative source (God) is contemplative prayer. In this study, I observe the relationship between the process of artistic creation and contemplative prayer as a way to prepare myself for that endeavor. In this article, contemplative prayer refers to meditative and contemplative practices within Christianity. Ratzinger asserted that Christianity could be described as a philosophy of freedom. “For Christianity, the explanation of reality as a whole is not an all-embracing consciousness or one single materiality; on the contrary, at the summit stands a freedom that thinks and, by thinking, creates freedoms, thus making freedom the structural form of all being” (Benedict 2004, p. 90). I observe inner freedom, the main quest of inquiry, through the lens of an artist and this specifically Christian philosophy of freedom. I examine how contemplative practices influence the shift in a way of being that opens a space for transcendence, echoing Merton’s assertion: “…and the essence of this change is precisely a liberation from dependence on external means to external ends” (Merton 1969, p. 217). Contemplative practices aim to deepen and enrich spiritual life. Beyond discovering the serene space within oneself, contemplative prayer fosters inner silence and receptivity, calming the mind and facilitating the emergence of profound insights. It pertains to being present and attentive, which resembles the process I use when accessing creative flow, where I can engage with my intuition and creative reservoir. Non-religious individuals may still derive advantages from integrating moments of tranquility into their daily routine in a world inundated with incessant distractions and noise in which silence is perpetually absent. In an investigation of the Christian monastic tradition, Haines-Eitzen (2022) discusses the yearning for silence as a notion intricately connected to the concepts of time and attention. She states: “Silence may offer us, in our hurried twenty-first century, a way to slow down and deeply sense where we are and who we are” (Haines-Eitzen 2022, p. 47). Establishing small sanctuaries of tranquility to escape the turmoil is exceedingly valuable. This can be advantageous for all individuals, regardless of their status as artists, but for artists specifically, contemplative prayer awakens a distinct consciousness that nurtures a grounding for artistic practice and life. A prayerful attitude facilitates inner focus, enhancing the soul’s receptivity to stimuli and fostering intensive creative endeavors. This orientation strengthens the soul, a “nonphysical locus of personal identity” (Taliaferro and Marty 2018, p. 270). This disposition also allows for translating intuition into expression in the creative process. Eliminating superfluous thoughts, words, actions, and interactions is imperative to achieving profound artistic expressions that articulate the realities that go beyond the material realm and grasp into the realm of the Spirit. When referred to as “Spirit”, the notion is made of the Spirit of the Creator, the Comforter, the Paraclete as a divine presence that inspires and guides artists in creative and spiritual endeavors. This prayerful attitude can be achieved through practices grounded in early Christian traditions, such as Lectio Divina, the meditative reading of sacred Scriptures, or the prayer methods from ancient and medieval monastic traditions that have been revitalized in contemporary Christian contemplative practice (Merton 1999; Christie 2019; Merton and Sweeney 2017). This prayer practice leads to a relationship with the transcendent (God), corrects the heart’s attitudes, restores inner strength, and frees the inner space required for creativity. Dalton states that the contemplative practice of Lectio Divina, with an artistic response, provides a mindful experience. She suggests this practice connects her “with something beyond but also within”(Dalton 2018, p. 19). My perspective is rooted in sacramental life, an intimate personal relationship with the Word. This bond that manifests itself in prayer and artistic creative acts is not passive but actively transforms the inner sanctuary of my soul. The same transformative power of the Spirit is present in both activities. In artistic endeavors, the emphasis is on human activity—walking, moving the body when drawing—but it is the same space of transformative dialogue between myself as an artist and the Spirit. This divine inspiration connects me to a higher power in creative acts. In contemplative prayer, listening and surrender are emphasized. Activity and passivity are intertwined in both situations, reflecting the dynamic relationship between the artist and the divine.

Contemplative prayer is surrendering to God by offering the most valuable thing—time—and letting God consecrate it. It is not in the service of art specifically and is not conducted to serve artistic work per se. In contemplative prayer, the only thing expected is Himself. It is being present in Presence. The fruit of that connection is renewed energy, strength, and inner freedom. That renewal of strength brings new energy to my work. It is a consequence of a prayerful attitude of letting go in the hands of Jesus Christ, who is the icon of the invisible God (Colossians 1:15). In this way, everything becomes prayer—art, drawing, and everyday life. It influences my work on a much deeper level than, for example, the decision to paint pious art. The most important thing is to create in this state of inner freedom, to create in freedom. It is what Maritan said about art with all its teeth, and it is essential for an artist who feels a vocation to create. Contemplative prayer is one way I can be in a state where I can play, which is primary for me as an artist—to play without worrying about the judgments of others and even myself. Contemplative prayer is a tool to overcome redundancy, internal closure, and feeling overwhelmed by daily life’s demands. By embracing silence, cultivating presence in the moment, and remaining receptive to transcendence, prayer opens the space for a contemplative state of consciousness that empowers me to attain freedom. It enables my spirit to thrive, breathe, and access the flow, thus enhancing personal integrity and fostering authentic expression.

Specific modes of contemplative prayer, such as Lectio Divina and Eucharistic Adoration in silence, have been particularly fruitful during practice-led artistic research. These forms of prayer, especially the often-wordless dialogue that adoration facilitates between the soul and the divine, are the most potent agents for liberating my soul and sparking intuition in the creative process. The contemplative state of consciousness and attitude gained in prayer extends to artistic activity.

2.3. The Artist’s Responsibility

When we regard an artist as a conduit for the message they communicate, the nature of that conduit becomes significant. “In producing a work, artists express themselves to the point where their work becomes a unique disclosure of their own being, of what they are and of how they are what they are” (John Paul II 1999). As Karol Wojtyla states, considering a special vocation of an artist, “In shaping a masterpiece, the artist not only summons his work into being, but also in some way reveals his own personality by means of it” (John Paul II 1999). In the process of creation, the artist conveys, frequently without deliberate intention, the deepest reflections through non-verbal expressions—employing line, color, light. Analogous to our understanding of heat or cold as manifestations of radiation within the cosmos, the spirit is likewise conveyed through artistic expression. The knowledge embedded within the artwork, articulated at the energy level, is conveyed as a frequency that either resonates or fails to resonate, imparting a message to the recipient. In this way, spiritual realities are articulated through the physical realm, manifested through matter. Mark Rothko, in a text originally published in Possibilities, New York, in 1947, writes: “The most important tool the artist fashions through constant practice is faith in his ability to produce miracles when they are needed” (Harrison and Wood 2003, p. 572). He states: “The picture must be for him, as for anyone experiencing it later, a revelation, an unexpected and unprecedented resolution of an eternally familiar need” (Harrison and Wood 2003, p. 572). The synchronicity that either unites or divides people is another way this process manifests itself. The extent of an individual’s connection to the transcendent (God) or their distance from this reality directly impacts interpersonal relationships. This positioning also influences a person’s receptivity. This interplay has a significant role in the relationship between the observer and the artwork. Depending on the observer’s spiritual position, the information an artist conveys through their work may be accessible or inaccessible because individuals exist within different spiritual realms. Mark Rothko (1903–1970), in his Statement argues: “A picture lives by companionship, expanding and quickening in the eyes of the sensitive observer. It dies by the same token” (Harrison and Wood 2003, p. 573). This interchange between artist, artwork, and observer is not controlled by an artist, nor is it his responsibility. Nor is it something artists should contemplate or worry about. As an artist, it is my responsibility to make myself accessible daily and to delve deeply into pursuing creative inquiry and labor. In that way, I can gradually gain access to a place from which I can start to materialize intuited reflections. In her holistic approach to artmaking, Kretz asserts that artistic voice comes from tapping into the depths of the artist’s consciousness and that this voice evolves, expands, and deepens with the artist (Kretz 2024, p. 12). This process requires a lifetime. The most important thing for me as an artist is to pay attention. To follow my intuition. Then, things are revealed. This artistic research, utilizing drawing as its medium and emerging from creative endeavors, substantiates the hypothesis that eliminating redundancy is essential to creating a space of silence. This silence allows me to engage in deep listening, becoming a conduit through which the essence of silence can express itself (Gagić Kičinbači 2023). Karol Wojtyla states that for an artist, “art offers both a new dimension and an exceptional mode of expression for his spiritual growth” (John Paul II 1999). The necessity for an environment where I can pause and engage—to remain alert and receptive to a form of understanding that frequently arises intuitively and captures me at the moment of readiness to create—when I begin to truly listen—is fundamental to the process of creating artwork. Nobel laureate Fosse declares in his Nobel Lecture A Silent Language: “And for me, the act of writing is one of listening—when I write I never think it out in advance, I don’t plan anything, I proceed by listening. If there’s any metaphor I would use for the act of writing, it would have to be listening” (Fosse 2024, p. 21). This attentiveness and willingness to listen serve as a fundamental connection between the artistic process of creation and contemplative prayer. Artist Makoto Fujimura states, “I am listening to the voice of the Creator through my creation. I am drawn into prayer as I work” (Fujimura 2020, p. 4). Contemplative prayer represents moments/states rather than practice, wherein I attune myself to inner awareness and the act of listening. It eliminates the clutter of redundancy, creating an environment conducive to the inner flourishing of the spirit. New eyes attained by prayer and by staying in silence enable me to see the logoi of things, their essence, not just their materiality (Merton and Sweeney 2017). In his Letter to Artists, Pope John Paul II wrote: “Artists are constantly in search of the hidden meaning of things, and their torment is to succeed in expressing the world of the ineffable” (John Paul II 1999). To express what is not visible and not touchable, which is spiritual in nature, I need to be connected to a creative source so that I can intuit that reality and make it visible. Out of contemplation there comes the ability to see reality on a deeper level, and that ability enables me to enter the process of art creation which gives praise just by being, just by creating, just by playing in and through the act of creation. Douglas E. Christie, in his article Christian Contemplative Thought and Practice in the Contemporary World, concludes, “one finds a growing conviction that to practice contemplation is to open oneself to a continuous deepening of awareness that transforms one’s relationship to everyone and everything” (Christie 2019, p. 15). Contemplative prayer fine-tunes my spirit, mind, and body, aligning it with a creative source. This process is akin to adjusting a musical instrument to a precise frequency, enabling it to produce the intended sounds. This intrinsic freedom that is born through prayer paves the path for my creative endeavor.

In this research, I investigate the idea that the quest for inner freedom is a prerequisite for artists who aim to create and communicate the ineffable. Through artmaking, I closely observe the process of creating artwork and the conditions in which the process is conducted. In this inquiry, I pay special attention to the preconditions that enable me to prepare for artistic work through which I aim to communicate the ineffable. This concept also posits that the artistic voice is inseparable from the artist. That leads to the conclusion that the inner space of an artist needs special attention. In the course of my research, I found that contemplative prayer acts as a conduit for liberating my inner space, thereby facilitating my engagement in creative processes with more freedom.

3. Practice-Led Artistic Research

Scientific research and artistic research share numerous similarities: inquiry, observation, preparation, experimentation, analysis, documentation, and dissemination. (Leavy 2017, 2020; Hannula et al. 2014) In an essay, Towards a Critical Discourse in Drawing Research, Steve Garner (2008) posits that both scientists and artists employ drawing as a tool in their investigations. He asserts that common ground serves as a medium through which “drawing supports a personal dialogue of enquiry and conjecture whilst offering the opportunity for others to engage with ideas through the representation. In this sense drawing is clearly part of a research process” (Garner 2008, pp. 16–17). Science and art are avenues for acquiring knowledge. Drawing is a method that can be used to explore both disciplines.

I conducted practice-led artistic research (Arlander 2017) with the medium of drawing to investigate possible ways in which artists can work to communicate what they intuit through the act of creation. The investigation is undertaken through observation and active participation in the artmaking process, specifically within the realm of drawing, encompassing both traditional techniques and digital methods. The process of preparation for the drawing by engaging in contemplative practice is also a subject of inquiry.

3.1. Drawing as a Medium

The roots of drawing can be traced to ancient human history. Early drawings—manifested through abstract symbols, shapes, and signs—are among the first forms of human expression, predating writing. Early traces left by humans, whether in cave paintings or ritualistic carvings, signal a deep connection between drawing and human consciousness, serving as a form of memory, reflection, and communication. Drawing, in its primordial form, is not only a tool for visual representation but a profound cognitive process that involves analysis, synthesis, and abstraction. The blank page (of stone!) becomes a space for discovery, where the artist’s inner world unfolds through the act of creation with drawings functioning as traces of this dynamic exchange between thought and action. This process aligns with the theories of Graeber and Wengrow who argue that human thought is inherently dialogic (Graeber and Wengrow 2023, p. 91). Ancient cave art, therefore, can be seen as a form of storytelling or record-keeping, as a vehicle for human belief, emotion, and ritual as well as a form of knowledge transfer to future generations. The relationship between drawing and time is another critical area of exploration. Helen Wickstead (2013, p. 560) proposes an intriguing parallel between drawing and archaeology, suggesting that both practices are concerned with recording traces of the past, present, and future (Wickstead 2013, p. 560). In this context, drawing becomes a medium through which time is captured and explored. Drawing, thus, becomes a medium capable of engaging in both the lived experiences of past cultures and the cognitive processes that shape our understanding of history and memory. Anita Taylor, artist and researcher, writes on drawing: “Being one of the most ancient acts, and yet so current, it is both preverbal and postverbal; and, as a community of practice, drawing transcends time, place, and culture” (Taylor 2020). Drawing is an intimate medium that goes beyond the borders of individual research and practice. Contemporary artists experimenting with drawing’s capacity to record and narrate time contribute to a broader discourse on the intersection of visuality, temporality, and memory.

As a medium of contemporary artistic practice, drawing escapes the constraints of fixed definitions and trying to define it “leads us into liminal territory, the ambiguous if vibrant threshold between states of definition and indefinition, identity and transition” (Petherbridge 2008, p. 39). It embodies a wide range of expressive, conceptual, and discursive possibilities. Historically, in the Western context, drawing has been valued primarily as a technical skill—an essential precursor to mastering other artistic forms such as painting, sculpture, printmaking, or architecture. However, this traditional understanding has been radically transformed. Drawing is no longer simply seen as a foundational technique for representing or interpreting reality. Rather, it has emerged as an autonomous discipline capable of complex cognitive engagement, self-expression, and exploration. Contemporary perspectives on drawing have diverged significantly from classical ideals of mimesis, where art was seen primarily as the imitation or reproduction of reality. The rejection of mimesis in modern and postmodern art has allowed drawing to break free from its traditional role as a descriptive or representational medium. As Šuvaković asserts, the notion of mimesis has been historically overcome and reinterpreted, particularly in postmodern discourse, where the concept of representation has become more fluid and complex (Šuvaković 2005, p. 372). Freed from the constraints of imitation, drawing has evolved into a form of self-expression and conceptual inquiry. It is now viewed not merely as a technical skill or a precursor to other artistic forms, but as an independent art medium. In this regard, drawing functions as a metalanguage, a tool for engaging with abstract ideas, emotions, and conceptual frameworks. Its expressive potential is increasingly recognized through the works of contemporary artists who challenge the boundaries of traditional drawing and explore its broader implications. This transformation reflects a shift in art theory and practice, where drawing transcends its historical association with linear representation and mimesis. The medium now serves as a vehicle for intellectual exploration and artistic expression, allowing artists to engage in deeper investigations of mental processes, psychological states, and spiritual dimensions. In this sense, drawing becomes a powerful medium for accessing and articulating what cannot be expressed through language. Drawing is increasingly recognized as a medium capable of exploring complex mental processes and the nuanced spaces of intuitive understanding.

Contemporary drawing is seen as a medium that marks the surface and extends into spatial and performative realms. Drawing practices often engage with the materiality of space, light, sound, and digital technologies, further challenging traditional boundaries. It encompasses a broad spectrum of approaches—from wire drawings to body traces, from light and shadow to digital renderings. In this context, drawing is no longer set to the confines of a pencil or paper but exists in multiple dimensions, including installations, performances, and spatial objects. This reimagining of drawing in contemporary art questions the borders of the medium, making it a site for experimentation and innovation. The phenomenology of drawing thus becomes an exploration of the object and the process, the space, and the time in which it is created.

Drawing has undergone a profound transformation in contemporary art, evolving from a technical skill to an expansive and multifaceted medium of expression. Its rich history establishes drawing as a universal visual language transcending time, culture, and discipline. Drawing’s ability to record, reflect, and narrate positions it as an essential tool for understanding the inner workings of the mind, the complexities of human emotion, and the mysteries of the past. As contemporary artists continue to push the boundaries of the medium, drawing remains a vital site for intellectual and creative exploration, engaging with new ways of thinking, seeing, and experiencing the world.

In this paper, I consider drawing “an investigative, transformative and generative tool for the realization and transference of ideas” (Taylor 2008, p. 69). Drawing will be investigated as a potential medium for artists who struggle for inner freedom regarding the artistic urge to express the ineffable in their praxis.

3.2. Process of Drawing During Research

The meticulous curation of materials, surfaces, and brushes constitutes serious and detailed preparation for drawing. I select each element with the highest degree of care and intention. Following extensive preparation, drawing is not a static process but a dynamic one. It is “an ongoing experience of creative emergence” (McNiff 1998, p. 147) resembling improvised singing, characterized by concentration and tranquility, yet full of energy and movement. Knowledge of visual grammar and intrinsic impulses informs the act of playing with lines, reminiscent of the spontaneous improvisational singing of a prayer. The size of the paper format is significant for research. The requirements for approaching the work process differ completely from working in smaller formats. My body is engaged in a completely different way. Davidson argues, “…artists making big drawings need to move their bodies differently from those who sit at a table, even differently from those who stand at an easel. Big drawings often require that artists climb on scaffolding, lie on the floor, swing, sway…” (Davidson 2011, p. 180) Davidson also asserts that “…this movement influences the marks and has an impact on the image, message, and even the artists’ health, and so must also be taken into account when making decisions about scale” (Davidson 2011, p. 180). When drawing on this scale, large, powerful movements involving the entire body are required. Drawing in this context approaches the art of movement.

Drawing opens a possibility to develop insights and to bring my thoughts to the surface, it “provides a space for thought to form” (Anderson-Tempini 2019, p. 21). Thoughts and insights are formed and developed through the act of drawing by “cultivating open and focused attentiveness” (Porter 2023, p. 282). The notion of present is crucial regarding awareness of being present and attentive that I experience in the process of art creation. Gaston Bachelard asserted that “one doesn’t read poetry while thinking of other things” (Bachelard 2010, p. 4). This concept underscores that the creative act fully engages the artist in the creative process. In this regard, drawing serves as a medium that promotes a heightened awareness of the significance of each moment, particularly the present, which I experience with increased consciousness while drawing as drawing “facilitates a mindful connection to one’s own thoughts, feelings and perceptions” (Porter 2023, p. 382). This awareness resembles the attentiveness fostered by contemplative prayer. Contemplative prayer serves as an anchor, providing stability, preparing me for action, and occasionally disclosing profound insights. These insights are connected to an experience of what Bachelard calls the “vertical dimension that presides over the poetic instant” (Bachelard 2013, p. 59). A moment in which creative intuition becomes palpable. The interplay between these two dimensions of engagement—prayer and the artistic creative process—holds the potential to unlock what Bachelard refers to as vertical time. This is a rupture in earthly time where eternity intersects the horizontal of human time. “And it is this vertical time that the poet discovers when he rejects horizontal time” (Bachelard 2013, p. 59). Insights gained through prayer are integrated into my artistic language and serve as a driving force in my practice. Prayer also prepares me to continue the adventure of creative inquiry by instilling courage and uplifting the spirit, allowing access to flow through diligent effort. Engaging in both (prayer and creative practice) promotes a sense of inner freedom that fosters spontaneity.

In the act of drawing, I must possess a certain level of spontaneity to remain receptive to the creative source. This does not imply neglecting the academic training required for artistic expression; instead, it acknowledges that such training alone is insufficient for the profound articulation of intuitively grasped realities. All knowledge and skills ought to enhance the moment of creation instead of eclipsing it, for doing so would lead to a sterile academicism devoid of vitality, ultimately failing to connect with the audience. In the process of creating a drawing, I must transcend preconceived notions. It is essential to adopt a stance of readiness and courage and position myself as a conduit for the vitality and energy that I channel during drawing. I must cultivate an openness to the creative source that surpasses me. When I embrace this attitude, I transcend the techniques honed through education, being freed from the expectations placed upon my creations, and permit the force, evident in the cosmos, to express itself through my hands and body, through the brush, and to flow onto canvas and paper.

3.3. Artworks—Method and Result of Practice-Led Artistic Inquiry

3.3.1. Note and Drawing Diaries

The artworks Note and Drawing Diaries capture the insights and emotions expressed on paper and canvas during the creative process. They reflect the dynamic flow of my cognition while immersed in the act of drawing on different substrates. Both works were conceived in silence, with the preparatory phase for the creative process and drawing performance, including a period dedicated to spiritual preparation via reflection and contemplation.

My emotions and thoughts are laid out on paper and canvas, capturing a moment of vulnerability. The outpouring of the soul—a brushstroke is a trace of the soul’s voice that cries, prays, celebrates, and expresses itself before the face of the Most High in the solitude of the creative act—like David’s singing in the Psalms and the singing of the bride in the Song of Songs, as well as crying out in Lamentations, in which the prophets pour out their soul before the Lord. The inner voice that sings, cries, prays, or remains silent is recorded. It is a very intimate and personal gesture of the human spirit that cries out to God in joy and sorrow on the other side of cynicism. This intimate expression of the soul through art is a form of communication with the divine, opening an internal place that words cannot inhabit and reaching the depths of human emotion. The paper and canvas become soaking ground permeated with human experience, witnessing the artist’s profound and intimate communication with the transcendent.

My female identity also defines the work. Drawing is a female singing, a female acapella that expresses suffering and doubts and entrusts them with trust into the hands of the Almighty. It is a song that echoes Mary’s Magnificat, a hymn of praise and thanksgiving, and her heartfelt “Son, why have you done this to us? Your father and I have been looking for you with great anxiety” as well as her silence on Calvary. All human experience gathers into lamentations with a brush that, with its thickenings, dissolutions, and transparencies, expresses the knots of difficulty, the crossroads of decisions, and the entanglement of life situations. I am building upon layers of meaning, the interpretation key of which is my spirituality rooted in a Catholic religious background.

Drawing Diaries (Figure 2, Figure 3, Figure 4 and Figure 5) consists of seven artists’ books that diligently document visual information over an extended period, encompassing a diverse spectrum from personal experiences to evocative poetic imagery. Each book is designed in a uniform, unconventional, elongated horizontal format. Sketches were created using a brush and pen and specialized modified tools such as rolled felt. The drawing medium is Indian ink by Lefranc Bourgeois (Paris, France). It is a vibrant, permanent, opaque ink that exhibits excellent longevity. Artists employ it across various disciplines, either independently or in mixed techniques. This specific substance is a fluid, enduring black ink distinguished by its remarkable durability. It offers comprehensive coverage and displays a radiant, luminous quality upon drying. The profound black ink can be utilized in its unadulterated state for the disciplines of calligraphy and drawing, or it may be diluted with water for diverse purposes. When subjected to dilution, it is referred to as ink wash. The dimensions of the pages are 28 cm wide and 16 cm high. The panoramic format edition features a distinctive Concertina binding on 100 percent cotton paper with a natural, deckle edge. The papers possess a medium-textured surface, are off-white in hue, and have a substantial weight of 250 g/m². They are appropriate for both wet and dry media, encompassing watercolor and ink. The papers are bound in handcrafted covers made of indigo blue, naturally dyed paper. The Drawing Diaries are intriguing due to their concise simplicity, compact format, and introspective, confessional structure. This structure reveals itself by gradually turning pages, allowing for a dynamic interplay of continuous and fragmented readings. Pages filled with drawings are presented in a seamless left-to-right reading progression. The compact format is advantageous as it facilitates focused attention that examines, reflects, explores, revisits, and possesses the capacity for prolonged engagement with individual elements or pages of the diary.

The artworks Note and Drawing Diaries (Figure 6) engage in a profound and interwoven dialogue, presented within the gallery space in a manner that invites the viewer to explore both the conceptual and material dimensions of the works. Although they are distinct in terms of the substrates on which they are executed, these two pieces are united by a shared artistic language and materials: the use of Indian ink, applied in both diluted washes and concentrated forms. This technique, rich in tonal variation and expressive potential, serves as a unifying thread between the two works, enabling them to resonate in a continuous visual conversation. The variation in the formats indicates distinct methodologies for the spatial representation of the works. Note is an expansive canvas roll, whereas Drawing Diaries consists of seven bound volumes arranged in a panoramic layout. The respective formats function not merely as containers for the artworks but as integral components that shape articulating and experiencing ideas.

In Note (Figure 6), the cotton canvas is exceptionally elongated, measuring 61 cm in width and 1400 cm in length, unfolding horizontally across the gallery wall from left to right. This vast, stretched format requires the viewer to engage with the work in a linear fashion, guiding the eye progressively across its surface. The scale and composition of Note demand that the viewer take in the work over time, fostering a sense of temporal passage as marks accumulate across the canvas. This deliberate structure suggests a form of continuous thought, allowing myself and the observer to move through a sequence of emotions, ideas, and visual elements. The very design of the canvas implies a temporal journey, reflecting the unfolding of thought as it manifests through a sustained act of drawing. In this way, the horizontal expanse of Note becomes a metaphor for the passage of time, by which I invite the viewer to witness the flow of ideas as they develop, moment by moment.

The Drawing Diaries adopt a different methodology, utilizing a panoramic book format composed of seven bound volumes. The total number of art books serves a specific purpose, as seven—a number imbued with significance—reflects the completeness of time. From the first chapters of Genesis to the apocalyptic visions in the Book of Revelation, the meaning of the number seven in Christianity is complex and well-rooted in the faith’s foundational texts. The number seven reappears, time after time, in ways that suggest its significance. This number is frequently associated with ideas of completeness, perfection, and divine order, representing a pause following creation and the transition into eternity, symbolizing the beginning of the seventh day.

Drawing Diaries, through its fragmented structure of pages, mimics the temporality of human existence. Flipping through the pages becomes an embodied experience of this temporal disjunction, as the viewer moves from one fragmented moment to the next, reconstructing meaning as they go. In this way, Drawing Diaries creates a form of time–space that aligns with the experience of living in the world—where moments are pieced together, and meaning is made through reflection over time. The passage of time, day by day, month by month, year by year, is mirrored in the structure of artwork, where each moment, each page, each mark contributes to an ongoing process of reflection and interpretation. The experience of reading and engaging with both works, Note and Drawing Diaries, thus becomes a metaphor for the human experience that is both fragmented and continuous, where meaning is constructed over time through careful reflection, attention, and engagement. Whether in the expansive horizontal journey of Note or the more intimate, page-by-page exploration of Drawing Diaries, I invite the viewer to invest in time, to slow down and reflect. Each work demands a deliberate, contemplative approach, where the passage of time is not merely implied but made explicit through the form and structure of the artwork. In this way, Note and Drawing Diaries offer not only a visual exploration of drawing and thought but also an intellectual meditation on the nature of time, memory, and the process of artistic creation.

This dichotomy of formats chosen for drawings Note and Drawing Diaries establishes the dialogical framework of the exhibited work (Figure 6). The counterpoint of the work Note and Drawing Diaries is in combining the format of ancient writing on a scroll with writing in a modern form of notetaking in a bound book. The scroll’s contents become available by unrolling, conquering the whiteness of space through this process, while the book has a completely different dynamic. The discussion revolves around the interpretation of temporal and spatial concepts of time in Eastern and ancient cultures, particularly in contrast to the Western perception of time as a fractured and fragmented reality. In both instances, the drawing serves as a unifying medium that intertwines the comprehension of time and space across perspectives, reflected in its inherent thread and continuity of thought on both foundations—the canvas roll and paper-based art books. In Note and Drawing Diaries I use the horizontal canvas scroll and the books to symbolize the nature of the human Earthly perception of the time, on both East and West. Time, as present that has its beginning and its end (in the scope of life of an individual human being), is perceived in this work as an integral part of eternal existence, an existence that transcends earthly life, that goes beyond death, time beyond time.

3.3.2. Drawing

The artwork Drawing (Figure 7) is executed on paper characterized by exceptional absorbency and durability, specifically designed for intaglio and relief printing. It is used for printing matrices in the artistic discipline of printmaking. It possesses exceptional characteristics for printing using techniques such as copper engraving, lithography, linocut, and woodcut. Acid-free, archival, high-quality white paper featuring a natural deckle edge was selected for the work in the technique of washed ink as a medium of choice. This golden paper (dorée Bütten-Kupferdruckkarton) has a grammage of 350 g/m², a width of 1.24 m, and a length of 20 m, and was acquired in a roll to ensure an uninterrupted drawing process. The paper is highly absorbent and remarkably durable. It is designed for immersion in water, followed by drying, and subsequently printing on half-dried paper from a graphic matrix either handprinted manually or using a printmaking press. In this research, the paper remained unsoaked and unformatted into smaller sizes which is usually the mode of working with it, retaining its original roll form. My decision to leave the paper as is highlighted the exceptional paper quality of resistance to straightening and its remarkable toughness. The distinctive characteristics of this opaque, thick, and textured paper are its notable tactility and high absorbency, which are the primary reasons I selected it as a drawing surface and a medium of expression. I decided to use this material based on its physical properties, such as its weight and thickness, high resistance to tearing, and almost sculptural strength. The paper I chose became integral to the work—that is why a high level of attention was paid to the choice of drawing surface. The choice of paper selected as a drawing surface significantly impacts both the drawing process and the outcome. The paper’s weight and texture profoundly influence the drawing’s intrinsic qualities.

The artwork Drawing was created by meticulously unrolling the length of paper, approximately 5 m in size, and engaging in a gradual process of rolling and unrolling. This technique involved extending the roll to areas that had yet to be drawn on, which led to dynamic interplay between the whiteness of a paper, myself, and drawing, in an almost narrative structure of a format. In the process of focusing on individual segments, I secured the roll at both ends with wooden weights, which gave me a level surface conducive to drawing. Because of the size of the work, I created it outdoors rather than in a studio. This aspect introduces some new dimensions that influence the work process because the sounds of birdsong and movement of nature in the fresh air help me immerse myself in the process, allowing my consciousness to be contemplative while drawing. The location chosen for drawing is purposefully hidden from the observer; a secluded location was chosen, so the level of unobstructedness is comparable to that of an art studio. The creation of this work involved attuning to internal stimuli, either amplifying or diminishing strokes, akin to the development of a musical composition. A structural correlation with the domain of musical art can elucidate this process. In the creation of Drawing I used large brushes, some affixed to extensions measuring approximately one meter in length, thereby enabling me to access the paper from a distance and leave a mark with greater ease. Some tools were deliberately designed to be short to ensure that the hand’s stroke would possess a distinct strength, character, quality, and expression, contrasting the strokes produced with tools that serve as extensions of the hand, thereby influencing my movement and expression. I envisioned this piece as a drawing intended for display on the wall, adhering to the traditional format of a two-dimensional artwork (Figure 8). The selection of materials and the evolution of the work through the process fundamentally altered the outcome, transforming the piece from a two-dimensional representation into a three-dimensional sculpture resembling a scroll (Figure 9). In contrast to the work Notes, which I created on a canvas that can be effortlessly and gently unrolled and displayed on the wall, the work Drawing evolved into a spatial entity, a sculpture that stands autonomously within space without any external support. Through the work process, I uncovered the resilience of the paper, which steadfastly resists the demand for straightening. The emergence of new values and redefinition of a work of art are the results of acknowledging the inherent physical properties of the chosen material. Here, I actualized the idea of the scroll form from the work Notes. The robustness of the paper material as a substrate for the drawing allowed the work to function as a sculpture within the gallery space. This redefinition of the work added a further layer of formal and iconographic meaning to the work itself. The scroll’s limitations prevent the viewer from perceiving the drawing in its entirety, making it accessible only in fragments. The work can be unfolded, but it cannot be comprehended simultaneously in its entirety. The reference here is to the scroll from John’s Revelation, gradually revealed through the process of seal opening. This exemplifies the interaction between the artist and the medium through a process wherein an idea evolves and transforms. It is the openness in this process that facilitates the emergence of solutions intrinsic to artwork. This constitutes a crucial element of the creative process. Allowing the process to possess this dialogical potential, rather than adhering to a preconceived notion, is important in fostering lateral thinking, fluency, flexibility, and experimentation with ideas in the creation of an artwork.

3.3.3. Hommage for Love

What is this coming up from the desert,

like a column of smoke

Laden with myrrh, with frankincense,

and with the perfume of every exotic dust?

Song of Sol. 3:6

Hommage for Love celebrates the transformative power of human love, a force that passionately interpenetrates individuals. While it is a wholly human experience, its foundation lies in Love—the fusion of the physical and the spiritual, a relationship of inseparable forces that construct a profound bond.

The smoke of incense is intertwined with strong black gestural lines. The aromatic smoke of incense represents sensual and sacred bonding in marriage. It ascends and swirls through the drawing and operates as a medium for cleaning, healing (spiritual) wounds, and preventing infection (malevolence). The incense appears in the image found in the Gospels, with magi presenting gifts to infant Jesus as an archetypical symbol: frankincense as a symbol of divinity and myrrh of his passion and death (Ronnberg and Martín 2010). It is used in liturgical celebrations in the Catholic Church as a representation of raising the soul to God in liturgy and Eucharistic Adoration, and as a form of purification. It is a human condition that, through prayer, is visually raised to heaven. As incense activates visual as well olfactory senses, in Hommage for Love, it also represents a sacrificial love— the intertwining of a man and a woman in the unity of love that has its roots in: Truly, truly, I say to you, unless a grain of wheat falls into the earth and dies, it remains alone; but if it dies, it bears much fruit. (John 12:24) As a picture of purification, protection, healing, sacrificial love, and unity, it also symbolizes the dwelling of this fragrance as a fragrance of God’s grace that penetrates the deepest wounds and failures and gives a taste of freedom to human hearts united in the same vision. The red color of blood and fire in the image’s visual center represents the internal sanctuary, a spiritual soul, a soul’s internal place where God dwells.

Hommage for Love (Figure 10) is an artwork that, as with the work Struggle (Figure 1), is a drawing that I created with digital technology. A combination of vector and raster computer programs served as tools for creating digital drawings. Vector graphics have a completely different way of computer processing than a raster-based image. Raster is defined as a network of pixels, small colored dots located on the monitor screen. By changing their colors and intensity, we get different graphic displays. Vector graphics are based on the principles of geometry, and, given that vectors are based on mathematical rules, the amount of information that the computer must process in vector graphics is much less than that processed by processing a raster image, and by increasing the size of the image, there is no loss of display quality, which is a difference from the loss of resolution quality when enlarging a raster image. In the work Hommage for Love, I used a hybrid combination of drawing: drawing made with brush and ink on paper is digitalized and drawn upon with digital drawing made with digital tools. Layering is made possible by the very nature of the digital drawing process. The fluidity of the medium enables me to express myself in a way that encourages playfulness and ensures long-term persistence in the process of drawing with the possibility of moving through time. Layering through the application of vector and raster computer programs enables me to open spaces for creative play and freedom when considering the multiplied possibilities of action when researching the relationship between the elements of the work and the artistic principles through which the work is created. The peculiarity of digital construction is reflected in the possibility of returning the digital canvas to its initial positions in time and space if the need to redefine the work is shown. The primary reason for using digital drawing medium in the works Struggle and Hommage for Love is the variety of possibilities for materializing the image created in mind, which is facilitated using digital tools.

Hommage for Love is an ode to power that permeates the universe, positioned at the center of all things yet concealed, perceptible only to the eyes of children or those akin to them.

In pursuit of authenticity, I must remain receptive to discovery, embodying mastery over formalistic artistic concerns without becoming subservient to them. This article focuses on striving to reach deeper levels of spiritual experience and inner freedom. As an artist, I am invited to embrace a mystic disposition, navigating existence with eyes intentionally closed to distractions while keeping them open for an inner exploration fostered by committed artistic practice. Such practice should emerge from life itself, primarily a spiritual existence nourished by communication with the transcendent. One method to attain that is through contemplative practices as a means of engaging with the creative source. Maritain elucidates the diligence of the artist, highlighting the pursuit of freedom: “…looking for freedom to achieve in one’s work a more and more genuine revelation both of Things and the Self, and to obey creative forces in a manner truer and truer to a deeper and deeper poetic intuition”(Maritain 1977, p. 223). The notion inspired by Maritain is substantiated through experience in engaging with art in this research, as well as through over twenty-five years of artistic inquiry.

4. Conclusions

This practice-led artistic research, which aims to explore the art creation process of an artist/researcher, contemplates the complexities involved in producing art and recognizes inner freedom as a necessary condition for creativity and productive creative work within the contemporary landscape.

Research has investigated the idea that the quest for inner freedom is a prerequisite for artists who aim to create and communicate the ineffable through artworks. The investigation is undertaken through observation and active participation in the artmaking process, specifically drawing, which encompasses traditional and digital techniques.

The necessity for an ascetic aspect in the pursuit of creativity, characterized by the quest for inner freedom, is rooted in the artist’s existence, which is intrinsically linked to creative output, as the artist’s inner life serves as a conduit for translating intuited realities into matter. The act of artistic creation embodies the inherent demand for the freedom and playfulness that it possesses in and of itself. Observing the artist’s creative process in this research indicates that the artist should possess a significant degree of inner freedom. The artistic creation process necessitates that the artist cultivates this freedom, which demands continuous effort. An artist’s inner space requires careful attention, as the artistic voice is inseparable from the artist. Emphasized is the need to eliminate distractions and create a space of silence conducive to creative work. Contemporary artists must develop a personal space, an internal sanctuary, to connect with their intuition and attain profound inner freedom.

This inquiry pays special attention to the preconditions that enable the preparation of an artist for creative work. This practice-led artistic research reveals contemplative prayer as a tool for artists to overcome redundancy, internal closure, and feeling overwhelmed by daily life’s demands. By embracing silence, cultivating presence in the moment, opening oneself, and remaining receptive to transcendence, contemplative prayer opens the space for a contemplative state of consciousness that empowers the artist to attain freedom. It enables the spirit to thrive, breathe, and access the flow, thus enhancing the personal integrity of the artist and fostering authentic expression. During research, through the process of creating by means of drawing, contemplative prayer is found to be a way to free up an artist’s inner space and connect with a deeper creative source. Like tuning a musical instrument, this practice aligns the artist’s spirit, mind, and body for creative expression.

Specific modes of contemplative prayer, such as Lectio Divina and Eucharistic Adoration in silence, have been particularly fruitful during practice-led artistic research. These forms of prayer, especially the often-wordless dialogue that adoration facilitates between the soul and the divine, are the most potent agents for liberating the soul and sparking intuition in the creative process. The contemplative state of consciousness and attitude gained in prayer extends to artistic activity.

The article emphasizes the need for spontaneity and receptivity to the creative source during the drawing process. This spontaneity does not imply neglecting the academic training required for artistic expression; instead, it acknowledges that such training alone is insufficient for articulating intuitively grasped realities. A drawing fosters composure and a heightened awareness of the present moment, allowing for a more profound engagement with the creative process and facilitating the emergence of solutions intrinsic to artwork. Allowing the process to possess this dialogical potential, rather than adhering to a preconceived notion, constitutes a crucial element of the creative process and exemplifies the interaction between the artist and the medium through a process wherein an idea evolves and transforms, which is important in fostering lateral thinking, fluency, flexibility, and experimentation with ideas in the creation of an artwork.

Pursuing inner freedom is crucial for artists who aim to create meaningful and transcendent art. The article presents drawing as a research method and a practice that can cultivate inner freedom. By nurturing inner space and engaging in practices that foster presence and openness, artists can cultivate the inner freedom necessary for authentic and spiritually resonant artistic expression.