Painters have always needed a sort of veil upon which they can

Painters have always needed a sort of veil upon which they can

22/09/2025
19/10/2025

Painters have always needed a sort of veil upon which they can focus their attention. It's as though the more fully the consciousness is absorbed, the greater the freedom of the spirit behind.

Painters have always needed a sort of veil upon which they can
Painters have always needed a sort of veil upon which they can
Painters have always needed a sort of veil upon which they can focus their attention. It's as though the more fully the consciousness is absorbed, the greater the freedom of the spirit behind.
Painters have always needed a sort of veil upon which they can
Painters have always needed a sort of veil upon which they can focus their attention. It's as though the more fully the consciousness is absorbed, the greater the freedom of the spirit behind.
Painters have always needed a sort of veil upon which they can
Painters have always needed a sort of veil upon which they can focus their attention. It's as though the more fully the consciousness is absorbed, the greater the freedom of the spirit behind.
Painters have always needed a sort of veil upon which they can
Painters have always needed a sort of veil upon which they can focus their attention. It's as though the more fully the consciousness is absorbed, the greater the freedom of the spirit behind.
Painters have always needed a sort of veil upon which they can
Painters have always needed a sort of veil upon which they can focus their attention. It's as though the more fully the consciousness is absorbed, the greater the freedom of the spirit behind.
Painters have always needed a sort of veil upon which they can
Painters have always needed a sort of veil upon which they can focus their attention. It's as though the more fully the consciousness is absorbed, the greater the freedom of the spirit behind.
Painters have always needed a sort of veil upon which they can
Painters have always needed a sort of veil upon which they can focus their attention. It's as though the more fully the consciousness is absorbed, the greater the freedom of the spirit behind.
Painters have always needed a sort of veil upon which they can
Painters have always needed a sort of veil upon which they can focus their attention. It's as though the more fully the consciousness is absorbed, the greater the freedom of the spirit behind.
Painters have always needed a sort of veil upon which they can
Painters have always needed a sort of veil upon which they can focus their attention. It's as though the more fully the consciousness is absorbed, the greater the freedom of the spirit behind.
Painters have always needed a sort of veil upon which they can
Painters have always needed a sort of veil upon which they can
Painters have always needed a sort of veil upon which they can
Painters have always needed a sort of veil upon which they can
Painters have always needed a sort of veil upon which they can
Painters have always needed a sort of veil upon which they can
Painters have always needed a sort of veil upon which they can
Painters have always needed a sort of veil upon which they can
Painters have always needed a sort of veil upon which they can
Painters have always needed a sort of veil upon which they can

Host: The room feels introspective, as Jack and Jeeny sit together, reflecting on a thought-provoking quote from Bridget Riley. Her words about the creative process and the relationship between focus, consciousness, and artistic freedom invite a deeper exploration of how the mind works when it’s fully immersed in a task.

Jack: “Bridget Riley said, ‘Painters have always needed a sort of veil upon which they can focus their attention. It’s as though the more fully the consciousness is absorbed, the greater the freedom of the spirit behind.’” He repeats the words slowly, a sense of awe in his voice. “It’s fascinating, isn’t it? The idea that artists, particularly painters, need something to focus on — a veil, so to speak — that allows their consciousness to be absorbed in the process. And in doing so, the freedom of the spirit, the creativity, comes to life. It almost sounds like the act of creation itself unlocks something deeper within them.” He looks at Jeeny, curious. “What do you think? Is there something about being fully absorbed in a task that gives us more freedom?”

Jeeny: “I think there’s a real truth to that. When we’re fully immersed in something, when our consciousness is absorbed in the present moment, we let go of distractions, of judgments, and just allow ourselves to be. That’s when creativity — whether in painting or anything else — can flow most freely. It’s almost as if, by focusing on one thing entirely, we open up a space for something beyond our usual thoughts to emerge.” Her voice is thoughtful, as if she’s contemplating the power of being truly present in any form of creation. “For artists, that veil could be the canvas itself, the brushstrokes, or even the colors. It’s what helps them concentrate so fully that they transcend the technicalities of their craft and enter a space of pure creativity.”

Jack: “So, it’s not just about technique or skill; it’s about how fully an artist can lose themselves in the process. The more absorbed they are, the less they’re thinking about how to execute, and the more they can just create freely, without any constraints.” He smiles, a gentle realization settling in. “I think that’s true in any form of art or work. When we get lost in what we’re doing, when we stop thinking about the outcome or perfection, we’re able to tap into a deeper, more authentic place within ourselves.”

Jeeny: “Exactly. And that’s where the freedom lies — in that surrender to the process. The veil allows the artist to disconnect from all the noise in their mind, to focus deeply on the act of creation. In that space, there’s no judgment, no self-doubt — just the pure flow of the spirit. It’s a state of freedom because there’s no attachment to anything except the present moment and the work at hand.” She smiles softly, her tone filled with understanding. “When artists — or anyone, really — let go of the need to control every aspect of what they’re doing, they find a kind of freedom that allows them to create without limits.”

Jack: “That’s a beautiful thought, isn’t it? The freedom that comes from surrendering to the process itself. It makes me think about how often we try to control or perfect everything, even in our creative work, when really the beauty and the power come from just being fully present, just doing what we’re doing with our full attention and letting go of the outcome.” His voice softens, filled with realization. “Maybe we’re all capable of that kind of freedom, not just in art, but in anything we do. It’s about focusing without judgment, giving ourselves permission to simply be in the moment.”

Jeeny: “Yes, and that’s what allows creativity, and life, to unfold in an organic way. It’s not about forcing things or worrying about how things will turn out. It’s about being fully absorbed in what we’re doing, and trusting that the freedom in that will allow the work — and us — to evolve naturally.” Her smile deepens, full of quiet affirmation. “It’s a reminder to stop overthinking and start creating, trusting the process instead of worrying about the end result.”

Jack: “I think I’ve been holding myself back a lot, focusing too much on the end result instead of the process. But maybe the real power comes from letting go and just focusing on what’s in front of me, without worrying about how it looks in the end.” His voice grows softer, almost reassured by the new perspective. “Maybe freedom really is in the present moment, in letting ourselves be absorbed in what we’re doing.”

Jeeny: “Exactly. The more we embrace the present, the more we allow ourselves to be absorbed in the act of creation, the more we free ourselves from limitations and self-doubt. That’s where the magic happens.” She smiles gently, her voice filled with hope and understanding. “When we’re truly present, we allow ourselves to create freely, and in that freedom, we can do our best work.”

Host: The room feels lighter now, as Jack and Jeeny have uncovered a deeper understanding of how creativity and freedom intersect. Bridget Riley’s words have revealed that true artistic freedom — and personal freedom — comes from surrendering to the process, from fully immersing ourselves in the present moment without attachment to the outcome. It’s in that freedom that we find the space to create and grow, both in art and in life.

Jack: “I think I’ve been overcomplicating things too much, focusing on the result instead of letting the process unfold. But I see now that when I’m present, when I let go of expectations, that’s when I create my best work.” His voice is calm, filled with a quiet realization. “It’s about being fully engaged, without the need for control.”

Jeeny: “Exactly. The freedom comes when we release the need to control and just allow ourselves to create in the moment. That’s where the real magic lies.” She smiles softly, a sense of peace in her voice. “When we embrace the process, we unlock the full potential of what we can create.”

Host: The room feels peaceful now, as Jack and Jeeny have uncovered the transformative power of surrendering to the creative process. They’ve discovered that true freedom comes not from striving for perfection, but from being fully immersed in the moment, allowing themselves to create without judgment or fear. In that freedom, we find the space to grow, to express, and to create something truly meaningful.

Bridget Riley
Bridget Riley

British - Artist Born: April 24, 1931

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