How Rituals Shape Art: The Role of Intentionality and Presence in Meaning-Making
- Dimitra Gkoutzou
- Feb 12
- 4 min read
In our everyday lives we use patterns that psychologists consider shape our perception, thoughts and behaviors. If so, this applies to artists that express themselves in particular ways. This expression offers a structured yet fluid patterned behavior that shapes identity in transformative and dynamic manner. So how does a ritual manifest the self?
Rituals as a pathway to understanding
A ritual manifest aspects of the self through repetitions that are unintentionally intentional. This means that somebody subconsciously manifests repetitions that reveals intentions of the conscious self. Intentionality is evident in art where artists engage in ritualistic acts such as repetitive gestures, meditative brushstokes, structured performances and motifs. In that way, presence is perceived not only in the nowness but in the continuum of past expressions.
Examples in visual arts
Intentionality through spontaneous gesture
Presence in Pollock’s drip paintings embodied nowness though movement and spontaneity that was applied in his compositions. Through his gestural motions, he provoked self-exploration, revealing the subconscious intentions through chaotic yet deliberate splatters.
A ritual of repetition and infinity
Another example is Kusama's presence of polka dots and mirrored spaces which transform personal trauma into a necessary kind of meditation reflecting on infinity and obliteration. As a result, her repetitive patterns suggest a ritual that symbolizes both healing and self-immersion.
Intentionality in layered emotion
A self immersion in presence is applied in Rothko’s layers of translucent paint at color fields that deal with emotions. His careful, intentional layering reflects a ritualistic approach that invites the viewer's mediation.
A ritual of history and memory
Another exceptional usage of unconventional materials like ash, lead, and straw is presented through Kiefer’s layers. These layers manifest moments of time, mythological referneces, and memories. Moreover, his ritualistic engagement with materiality reinforces themes of destruction and rebirth, shaping identity through historical reflection.
A ritual of minimalism and spirituality
A reflective yet meditative quality is present in Martin’s grid paintings which are a product of structured repetition, soft lines and subtle color shifts in disciplined shapes. As a result, her work transforms painting into a ritual of spiritual contemplation and self-discipline.
Ritualistic approaches in meaning making process
From the examples above, presence serves as an act of self-invention and self-mastery. Some artists embrace the chaotic, spontaneous process of meaning-making by using for example gestural techniques where the act of painting becomes a self discovery adventure.
Others employ structured, meditative repetitions such as grids, which reflect a stoic mentality by embracing disciplined shapes that evoke order which closely align with qualities such as patience, and acceptance of limitations.
Similarly, Kiefer’s historical layering of materials has the same stoic quality applied on themes of destruction and renewal, because his art embodies endurance and reflection in the face of time’s passage.
From all the above, it seems while some artists emphasize freedom in meaning-making,, other prefer to focus on discipline and resilience. Artistic rituals embody individualized mindsets that help artists in self-invention through presence.
Moreover this contrast between chaotic, spontaneous and structured, meditative repetitions in meaning making process reveals a balance between chaos and order.
The role of intentionality in self-creation
The balance between chaos and order is presented by our intention. For example, when we look at an artist we notice how they act, communicate and sometimes by questioning them what they think.. The way artists choose to show their intention reveals several times their meaning-making process is chaotic( spontaineous) or ordered( structured).
Moreover, intention serves as the conscious force that reveals ourselves. In that sense, our perception is shaped partially but significantly through rituals that could unfold our intentions. By finding rituals that are performed frequently people seem to search ways to unfold the intentions by categorizing human behavior in patterns aka rituals. So, how could that contribute to today’s society and culture?
The expansion of ritual beyond art
Artists could contribute in providing insight of the human condition through their presence and repetition that others could adopt or analyze in various contexts.
By these lens, individuals have the chance to publicly reflect or connect with people who share same or different visions.
Though psychological perspective the artist as present human behavior shapes how people view their feelings. As a result their presence lead to self-discovery.
Ritual as a lifelong practice
To sum up, rituals either spontaneous or structured, serve as pathways to self-discovery and transformation.
Through repetition, presence, and intentionality, artists shape themselves. This process of engaging in artistic rituals extends creation; It becomes a lifelong practice of meaning-making that shapes the way we perceive, express, and understand ourselves in the continuum of time and experience.
Such practice could offer new ways of fostering connection, resilience, and understanding that provide a structure for better communal interactions and individual growth. Individuals getting exposed to rituals allow themselves to explore their identities through consistent, meaningful engagement.
Bibliography:
(2024) Jessica Walker, Art as a ritual (pg 6, 18-19)
(2018) Teboho Junior Lebakeng ,Ritual as Identity Formation(pg 7-9)
(2017)Nicholas M. Hobson, Juliana Schroeder, Jane L. Risen, Dimitris Xygalatas, Michael Inzlicht, The Psychology of Rituals (pg 3)
(2017) Reynolds, Agency, Identity, and the Emergence of Ritual Experience (pg 10)
(2017) Sherry L. Beaumont, From Liminality to Transformation, Canadian Art Therapy Association Journal ( pg 63, 80)
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