Introduction
In this critical reflection, I explore the underlying key themes that form the foundation of my artistic practice. These themes include the concept of the sublime, the creation of environments for meditative calm, and encountering landscapes. Through an examination of historical perspectives, contemporary artistic approaches, and personal insights, this exploration delves into how these elements intertwine and inform my work.
Jump To Section:
Understanding the Sublime
Creating Environments for Meditative Calm
Encountering Landscape
Understanding the Sublime
While “sublime” is casually used today to mean “very nice,” its true meaning conveys an overwhelming sense of grandeur and awe (Llewellyn, N. & Riding, C., 2013). The word comes from Latin “sublimis,” meaning elevated or lofty, and describes something so magnificent it transcends human comprehension (Llewellyn, N. & Riding, C., 2013). Mountains exemplify the concept of sublime, inspiring both wonder and fear through their massive scale and commanding presence.
I. Edmund Burke’s Sublime (1757)
Historically, Burke’s sublime deeply shaped Romantic artists, who viewed nature as inspiration for subliminary encounters (Riding, C., 2013). The romantics depicted dramatic landscapes to evoke profound emotions in viewers.
In ‘A philosophical inquiry into the origin of the idea of the sublime and beautiful’, Burke argued that sublime moves us more than beauty, but for the overwhelming quality of sublime makes us feel small (Llewellyn, N. & Riding, C., 2013). This is why looking down from the edge of a mountain is both terrifying and delightful, as nature’s engulfing power fills us with awe.
“Whatever is fitted in any sort to excite the idea of pain, and danger… is a source of the sublime” (Burke, E., 1757, p.36). While Burke’s philosophy is influential, the emphasis on terror, danger and pain could constrain our understanding of sublime experiences.
I resonate more with Alain de Button’s interpretation of Burke’s sublime. The slight humiliation we feel in the vastness of nature is strangely uplifting, as it puts our problem into perspective (de Button, A., 2016). When we contemplate the majestic mountains, suddenly the irritants in our lives seem trivial. Burke’s concept of sublime is a useful remedy as it restores our perspective, making our ego seem insignificant, thus we become less caught up with irksome matter in everyday life (de Button, A., 2016).
The “sublime” in traditional western painting was evident in artists such as Constable and Turner, and in Constable’s case, we can see how he has linked the sublime to his spiritual experiences (Lyles, A., 2013).
II. John Constable’s Approach (exhibited 1831)
Constable’s interpretation of the sublime differed from Burke’s, aligning more with Alison’s perspective that natural beauty triggers associative chains leading to spiritual contemplation (Lyles, A., 2013). This is evident in ‘Salisbury Cathedral from the Meadows’, where he uses a grand canvas and symbolic elements like the rainbow over the cathedral to suggest spiritual hope (Lyles, A., 2013).
However, Constable also approached landscape painting scientifically, viewing it as a means to study natural laws (Robbins, N., 2021, p.4). His observational and rational approach contrasted with Burke’s emphasis on emotional impact. He treated paintings as experiments in natural philosophy, focusing on capturing the tangible “freshness” of English weather rather than nature’s overwhelming qualities (Robbins, N., 2021, p.22).Constable’s view of the sublime balanced spiritual and scientific elements. While acknowledging nature’s tangible aspects, he departed from Burke’s emphasis on fear, instead promoting thoughtful observation as the path to sublime experience.
III. The Contemporary Sublime (starts around 1960-1980)
The contemporary sublime, as articulated by Julian Bell, has departed from the traditional sublime. It moves beyond traditional beauty to explore transcendence and truth through artistic creation, offering viewers a controlled yet overwhelming aesthetic experience (Bell, J., 2013). Artists today rarely explicitly label their work as sublime, treating the term primarily as a curatorial tool rather than creative expression (Bell, J., 2013).
Pat Steir, an American contemporary artist known for her waterfall paintings, challenges Edmund Burke’s concept of the sublime. She criticizes its patriarchal nature and its masculine tendency to impose universal control over reality (Ryan, H.,1997, p.5). Her waterfall paintings critically analyzed how Western art traditionally depicted the sublime, rather than attempting to recreate it (Ryan, H., 1997, p.13). Steir’s paintings were inspired by her lived experiences rather than following a preset agenda (Ryan, H., 1997, p.9). Her approach to sublime is inspiring, personalizing abstract art by developing her own symbolic language, connecting spirituality and history while staying true to her artistic integrity (Ryan, H., 1997, p.9).The sublime today is no longer restricted to aesthetic nor a certain theory, it encourages artistic exploration while maintaining truth to the artist’s pursuit.
IV. Personal Reflection on the Sublime
At the natural history museum, the layered geological formations of mountains reminded me of my oil painting technique, where colors build upon each other. While viewers sometimes associate my mountain paintings with the concept of the sublime, my approach is primarily observational, similar to Constable’s study of natural laws. Rather than emphasizing fear, I focus on the mountains’ beauty, hoping to convey the awe I felt being in nature. Like Constable, I view the sublime as an aesthetic experience that heightens awareness through encounters with transcendence in nature and art, celebrating awe without terror as the foundation.
My summer show work, ‘Into The Alps’ creates contemplative spaces by reimagining traditional sublime landscapes. The installation combines Alpine rock formations with large-scale canvases to form an immersive environment. By deliberately removing human figures in the painting, the work emphasizes quiet reflection and intimate connection with nature rather than its overwhelming power.
Creating Environments for Meditative Calm
My visit to the Water Lilies room by Claude Monet at the Musée de l’Orangerie in Paris left a lasting impression. The panoramic installation’s peaceful ambiance invited quiet contemplation, demonstrating how art can create spaces for reflection. This experience now shapes my approach to designing meditative environments.
I. Claude Monet: Water Lilies
Claude Monet’s Water Lilies series is the pioneer of immersive art installations, often described as “total installations” for their ability to fully engage viewers (Tucker, P., 1998). Monet turned his canvases into sanctuaries that captured the beauty of his garden at Giverny, then transported the garden to the museum in the form of paintings. His motivation was deeply personal, seeking peace amidst the turmoil of World War I and personal losses, including his failing eyesight and the deaths of his wife and son (House, J., 1986).
Monet’s choice to focus on his garden reflects his belief in nature’s healing power. Art historian Paul Hayes Tucker notes that during this period, Monet’s work aimed to “rise above the immediate chaos” by immersing himself in natural beauty (Tucker, P., 1998). This aligns with Impressionist ideals, which prioritize sensory experiences over detailed representation.
Today, Monet’s work remains significant for its therapeutic ability to provide comfort during difficult times. Critics have noted that his water lilies evoke timeless beauty and tranquility, resonating with audiences across generations (Crane, P., Friis, E., 2020). The rise of Abstract Expressionism in the 1950s further solidified Monet’s influence; artists like Jackson Pollock and Mark Rothko drew inspiration from Monet’s focus on color and form rather than narrative (MoMA, 2009).
Just as Monet found peace in his garden, I aspire to create art that offers a retreat for my audience and myself—a space for reflection amidst life’s challenges, despite the differences in scale and historical context. His ability to cultivate meditative calm inspires my practice, which aims to provide an urban sanctuary for viewers.
II. Art as Therapy: Psychological Propaganda
Alain de Botton suggests that art should serve as psychological propaganda rather than theological (de Botton & Armstrong, 2013). He proposes that museums organize art based on its emotional impact—such as sadness or joy—rather than by historical period or style. This perspective highlights art’s role as a tool for emotional healing and balance.
De Botton wishes that Rothko’s quote, “You have got sadness in you and I have got sadness in me. Two sadnesses can meet and we can be less sad,” were displayed in Rothko rooms to help viewers understand the emotional context of his work (de Botton & Armstrong, 2013). In support of this idea, de Botton was invited by the Rijksmuseum in Amsterdam to rearrange their displays according to themes such as love or fear rather than chronology or geography (Rijksmuseum, 2014). He mentioned art is a form of flattery—suggesting it is “not quite true but by saying it, it might one day be”—indicating how beautiful decorative images can enhance our perception of reality (de Botton & Armstrong, 2013).
This concept underscores the therapeutic role of art in addressing emotional imbalances. Art provides hope and relief from darkness by compensating for what we lack or fear. By categorizing art functionally, museums can enhance visitors’ understanding and engagement with artworks.
Recently, I curated a group exhibition titled ‘State of Being,’ where I include a personal quote from each artist along with their place of origin to provide context for audiences. This approach links with Alain de Botton’s theory by offering emotional insight behind each piece. For example, I added a quote on the wall:
“I dream of snow, just like how people from cold places will dream of our warm days”
Xuan from Kuala Lumpur, Malaysia.
This method aims to deepen viewers’ connections with the artworks by highlighting sharing story behind the work.
III. Olafur Eliasson: Constructing Environments
Olafur Eliasson is renowned for creating immersive installations that engage viewers with their surroundings. His works, such as ‘The Weather Project’ at Tate Modern and ‘Your Blind Passenger’, where he filled tunnels with water vapor to create fog, constructed environments where viewers actively participate in meaning-making (Eliasson, O., 2008). Eliasson’s motivation lies in exploring how people perceive nature and their environment through art.
In projects like ‘Your Blind Passenger’, Eliasson obscures vision to heighten other senses—a technique intended to deepen sensory awareness by subtracting one element to enhance others (Eliasson, O., 2008). This contrasts with my interest in adding elements such as sound and scent to create immersive experiences. While Eliasson’s approach focuses on enhancing perception through reduction, mine emphasizes enriching sensory engagement through addition.
Eliasson’s work challenges traditional notions of passive art consumption by emphasizing viewer interaction. Critics have praised Eliasson’s ability to engage audiences deeply; his installations are seen as transformative experiences that heighten awareness of one’s surroundings by altering sensory perceptions (O’Hagan, S., 2008). By creating environments where viewers must actively engage their senses differently, Eliasson fosters deeper connections between individuals and their environments.
Eliasson’s emphasis on viewer interaction reflects thoughts found in ‘Art as Therapy’ by Alain de Botton—art is about reflecting emotional needs (Eliasson, O., 2008). His work inspires me to design environments facilitating meditative calm through active engagement.
IV. James Turrell: The Art of Light
James Turrell’s Roden Crater is designed for contemplation, featuring specialized spaces that blend natural light with sensory experiences (Hylton, W., 2021).
In the spherical Twilight Tea Room, sunset light illuminates a golden bowl during traditional tea ceremonies (Hylton, W., 2021). Drawing inspiration from Afghan architecture, the Stupa Space harmonizes sound and light to enhance meditation (Hylton, W., 2021).
These carefully crafted environments allow visitors to focus solely on celestial light and energy, fulfilling Turrell’s vision of creating spaces where light itself becomes the primary focus (Hylton, W., 2021). He specifically stated: “I wanted the work to be enfolded in nature in such a way that light from the sun, moon and stars empowered the spaces…I wanted an area where you had a sense of standing on the planet.“Turrell’s emphasis on experiential engagement informs my own practice by highlighting the value of creating spaces encouraging viewers to slow down and reflect. His work inspires me to design environments facilitating meditative calm through sensory immersion.
Nature as Therapy
These artists portray nature in their work, acknowledging its profound influence on humanity. According to studies, being in nature reduces depression, boosts self-esteem, and strengthens the immune system while engaging all senses (Joschko et al., 2023).
In natural settings, people develop better self-regulation and reflection skills, especially when finding a space in nature they connect with (Joschko et al., 2023). Nature’s changing seasons also provide metaphors for personal growth (Joschko et al., 2023).
Many organizations and countries have implemented nature-based initiatives for wellbeing. Singapore’s Khoo Teck Puat Hospital incorporates natural elements like water features and wildlife-attracting plants to create a forest-like healing environment (Ong, J., 2024). Japan promotes forest bathing (shinrin-yoku) through designated therapy trails and corporate wellness programs (Fitzgerald, S., 2019). While companies like Patagonia offer paid environmental internships that connect employees with the outdoors (Patagonia, 2024).
These examples showcase the power of nature to humanity and the increased awareness of it. Hence, the combination of art and nature is powerful, as it leverages the therapeutic element of both.
Encountering Landscape
My studies in London enabled me to paint the Alps firsthand — a landscape I have long fantasized about as a Malaysian. Working both outdoors and in the studio, I captured these peaks through direct observation, personal photographs, and fresh memories of my encounters with them.
In this section, I state my observations from books and artists who are inspired by their encounters with landscapes.
I. The Alpine Club and Its Collection
During my research on mountain art in the UK, I discovered the Alpine Club, established in 1857 as the world’s first mountaineering organization. I scheduled a visit to the club’s archive to examine their collection of mountain artwork and literature about British mountain artists. Their archive houses an impressive collection of mountain-themed paintings, sketches, and photographs by members (Alpine Club, 2024).
My goal was to study how alpine encounters shaped the members’ artists’ creation, as my own work is heavily influenced by my visit to the alps.
II. John Ruskin
The Alpine Club features an overwhelming amount of artists, so I focused on those I already knew. Joining the Alpine Club in 1869, Ruskin’s encounter with the alps shaped his artistic pursuits profoundly (Gamble, C., 1998). Similar to Constable (as mentioned in ‘what is sublime?’), Ruskin’s motivation to paint nature stemmed from an admiration to their beauty and scientific pursuits (Hewison et al., 2014, p. 42). Ruskin integrates geological knowledge into his work to capture the awe-inspiring essence of landscapes and provide a deeper analysis of nature, moving beyond picturesque quality (Hewison et al., 2014, p. 42).
In his painting, Ruskin intended to study the geological features of mountains, allowing his work to be informative and aesthetic (Hewison et al., 2014, p. 247). He believed that viewing nature is a reminder of the power of the divine (Hewison et al., 2014, p. 28).
With the emergency of photography, Ruskin depicts intricate details and impact of nature through art and writing, aiming to surpass photography’s limitations during the time (Hewison et al., 2014, p. 41) .
By observing mountain formations and geology, he created detailed artworks, illustrating the origination of landscape, how it evolved and will inevitably dissolve (Hewison et al., 2014, p. 23). Ruskin saw the similarity of nature forms and human anatomy, how formations of rocks echoed bodies, thus employing an organic approach to his work by utilizing intertwining curved lines, instead of rigid shapes. This created a harmonious composition which resonates with patterns in nature (Hewison et al., 2014, p. 228).
Ruskin’s blend of scientific understanding, artistic talent, and philosophical depth shaped a unique perspective on landscape that remains relevant to our modern understanding and appreciation of nature.
III. Gabriel Loppé
During my Alpine Club appointment, I discovered Gabriel Loppé’s exhibition. As the first French member of the Alpine Club, he was renowned for being one of the first artists to depict what the French call la haute montagne—the high mountains—with a brush in one hand and an ice axe in the other (Mitchell, W., 2000, p. 45).
Loppé’s passion in depicting mountains stemmed from a fascination with Alpine landscapes; he described his first experience in the Alps in 1846 as “one of the most vivid impressions of nature”, inspiring him to combine his mountaineering passion and artistic talents (Chamonix, 2023) .
To capture lights and atmosphere accurately, Loppé would spend days at high altitude to render these elements. His paintings captured the spontaneity and atmospheric effects, while being geographically accurate. In the 19th century, the alpine tourism was changing, the Alpine Club was recently formed and English tourists were increasingly interested in mountainscapes. As the Mont Blanc was not fully mapped, Loppé’s painting provided valuable information for mountaineers and promoted Chamonix (Chamonix, 2023).
His paintings are valued for their ability to evoke emotional responses from viewers, emphasizing the power of nature to inspire awe. Art historians have praised Loppé for his technical skill and dedication to realism, noting his influence on subsequent generations of landscape painters (Mitchell,W., 2000, p. 52).
Gabriel Loppé captured the Alps in the 1800s with precise yet artistic paintings that guided climbers and attracted tourists to Chamonix. His work marked the transformation of these mountains from mysterious wilderness to mapped territory, as human attitudes to mountains shifted from intimidated to exploration. These visual records helped establish the foundations of Alpine tourism and mountaineering.
IV. James Hart Dyke
After noticing my interest in Loppé, the alpine club librarian suggested I look into James Hart Dyke, a contemporary British artist. In 2022, Hart Dyke recreated Loppé’s route to Mont Blanc and painted plein air, immersing himself in the same environments that inspired Loppé (Mitchell,W., 2013, p. 34). These paintings were exhibited in the Alpine Club.
Looking up to Loppé, Hart Dyke depicts these mountains first hand at high altitudes in extreme temperatures, forcing him to adapt his technique to accommodate these conditions. Hart Dyke’s paintings invite viewers to engage with the impermanent nature of landscapes, prompting reflection on their fragility in the face of environmental change. His work highlights environmental issues by portraying landscapes that are increasingly threatened by climate change (Mitchell, W., 2013, p. 42).
James Hart Dyke’s 2022 recreation of Gabriel Loppé’s Mont Blanc journey bridges two eras, revealing dramatic changes in the Alpine landscape over 150 years. By painting en plein air in the same locations, Hart Dyke documents how climate change has transformed the mountains since Loppé’s time during the Industrial Revolution. His work, created in extreme conditions, highlights the vulnerability of these once-eternal landscapes and serves as a compelling call for environmental protection.
Books on Encountering Landscape
I. ‘The Living Mountain’ by Nan Shepherd
Nan Shepherd’s ‘The Living Mountain’ masterfully articulates the profound connection between humans and mountains, expressing the magnetic pull that draws people back to mountain peaks. Her words resonate deeply with my own experiences, and I strive to capture that same essence in my work.
She viewed her encounter with the Scottish mountains as a multisensory experience that reveals new perspectives continuously (Shepherd, N., 1977, p. 152) . By deeply knowing the same place over time, one embraces uncertainty and understands that knowing everything is impossible (Shepherd, N., 1977, p. 28). To Shepherd, landscape encounters was a means to explore both the physical and internal world.
The encounters with landscape could transform the ordinary world to a magical one, with each mountain’s rendezvous adds to one’s understanding, as “the eye sees what it didn’t see before, or sees in a new way what it had already seen” (Shepherd, N., 1977, p. 152). By viewing the landscape through Shepherd’s lens, we appreciate it deeper, we are able to see the subtle changes as it is constantly evolving.
Her encounters with mountains are intertwined with her discoveries of the internal world, as her understanding of mountains grew alongside her self-exploration (Shepherd, N., 1977, p. 154). She shifted her approach to mountain from a conquering mindset to an appreciation to the landscape, “as one visits a friend” (Shepherd, N., 1977, p. 18). This evolution allowed Shepherd to browse the mountain aimlessly, looking in all directions and inwards, as she embraces uncertainty and continues to discover new perspectives on the mountain and herself.
Nan Shepherd redefined mountain exploration by emphasizing deep engagement over conquest. She advocated experiencing mountains with all senses, embracing their mysteries. Her approach reveals mountains as gateways to both environmental awareness and self-discovery, turning each encounter into a meaningful dialogue with nature.
II. History of Mountains and Encountering Landscapes: Insights from Macfarlane and Solnit
Macfarlane and Solnit explore our deep connection to landscapes and movement through them.
Macfarlane mentioned how mountains transformed from fearsome entities into venues for adventure and self-discovery, reflecting humanity’s quest for exploration and meaning (Macfarlane, R., 2008, p.90). Mountains profoundly influence artists who portray nature by sharpening their observational skills (Macfarlane, R., 2008, p.69). Encountering landscapes sharpen an artist’s eye for nature by revealing both intricate geological details and broad scale. This dual exposure to intricate textures and vastness heightens awareness of perspective while cultivating sensitivity to subtle environmental elements like light, clouds and atmosphere (Macfarlane, R., 2008, p.289).
Meanwhile, Solnit explores walking as a means of connecting with landscapes and ourselves (Solnit, R., 2000, p.21). She traces walking’s evolution from necessity to pleasure, highlighting its peak in the late 18th century as a contemplative activity (Solnit, R., 2000, p.260). To walk is to introspect, to engage with the world we live in and to understand our surroundings (Solnit, R., 2000, p.82).
Solnit highlights the importance of encountering landscape to enhance our wellbeing by providing stimulation mentally and relieving our stress. The rhythmic act of walking can help us achieve emotional balance by aligning the body, mind, and the world (Solnit, R., 2000, p.26, 18).
These artists and writers have demonstrated how engaging with mountains can be transformative beyond artistic purposes. Their approach to mountains as spaces to learn reveals the profound impact of natural environments on personal growth.
Conclusion
In conclusion, this exploration of the sublime, meditative calm, and encounters with landscapes highlights the profound impact that nature and art have on human experience. By examining historical and contemporary perspectives, we uncover how these themes not only shape artistic practices but also foster emotional well-being and a deeper connection to the environment. Through the works of artists like John Constable, Olafur Eliasson, and James Turrell, we see the potential for art to evoke awe, inspire tranquility, and facilitate transformative encounters with the natural world. Ultimately, this reflection underscores the importance of engaging with these themes in our pursuit of understanding both art and nature’s role in enriching our lives.
Bibliography
List of figures
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Gabriel Loppé (no date) Mont Blanc [Painting] The Alpine Club (Viewed: 24 October 2024)
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About the author
Xuan Hew, a Malaysian landscape artist, weaves cherished memories and a deep connection to nature into her work. Through her paintings, she aims to inspire reverence for the natural world, evoke a meditative experience and promote sustainability.
Currently pursuing a Master’s degree in Fine Art: Painting at the University of Arts London (UAL), Camberwell College of Art. Xuan Hew recently had her solo exhibition “Moments of Stillness” in London, UK. She also curated her duo exhibition “When Urban Meets Nature” at GMBB in Kuala Lumpur, Malaysia. Follow her work at @yexuanhew on Instagram.