A conceptual analysis of the experience of aloneness as a necessary condition for the making of art
This Thesis tries to show how the experience of aloneness comes in
many forms for the artist working in the fine arts. It is argued in
the chapter Alone with the Idea Part 1, which concentrates on an analysis of my creative process as the writer of the Thesis, that the experience of being intimate with the idea to the exclusion of all else, is the essential experience of aloneness that artists seek to attain, whether they are children, adolescents or adults. The chapters Solitude and Alone Together explore the ways in which the physical and social dimensions of aloneness are important in facilitating the experience of being alone with the idea. It is suggested that only when a territory has been established and, for the artist working in the company of others, greeting rituals have been enacted can the artist turn his attention to the making of art. The chapter Alone with the Idea Part 2 describes how the emotional demands of art have to be reconciled with the emotional demands in an artist's private life. The chapter on Autonomy concludes that the autonomous artist shows an independence of thought and spirit in his art and a capacity to penetrate the depths of his being in order to realise that which is uniquely his own. The chapters Loneliness and Alienation propose that such feeling states can provide the subject matter for art forms; that for those whose life experiences have made them lonely or alienated the making of art can be regenerative; and that art for the dissident adolescent, is a potent form for the needful expression of his condition. The Conclusion describes the art teacher whose capacity to be alone in a general life sense allows students the life-space in which to be alone with their ideas. Verbatim transcripts of recorded conversations held with
seven American and Canadian artists in Canada in 1975-76 are included as Appendices.