Observation, Contemplation, Meditation, and Prayer through the Creation of Art by Mano Sotelo

Recently, I had the opportunity to present at The Spirituality and the Arts Conference, hosted by the Program for the Evolution of Spirituality at Harvard Divinity School, and the Sacred Arts Conference, organized by the London Arts-Based Research Centre and held at the University of Oxford.

What follows are some reflections connected to those presentations—thoughts on how the creative process can serve as a gateway to observation, contemplation, meditation, and prayer.

Observation through the Creation of Art

Creating art begins with observation—the act of truly perceiving something in all its complexity. Whether it’s noticing subtle shifts in light, color, and shadow or discerning the unique characteristics that distinguish one form from another, the artistic process invites us to see what we might otherwise overlook.

Through this sustained attention, the artist becomes attuned to the beauty of the ordinary. Observation, then, is not passive—it is a transformative act. It cultivates meaning, presence, and appreciation for the world as it is.

Maurice Merleau-Ponty, a key figure in phenomenology, described observation as an active engagement with the world (Merleau-Ponty 10). This suggests that moving beyond merely “looking at something” to truly “seeing it” can deepen our connection to the world around us.

Moreover, observation in art can extend beyond the visual. It can be both intellectual and sensory. When artists engage in deliberate studies of anatomy or linear perspective, they are not merely replicating reality—they are striving to understand its underlying structure. This engagement demystifies the subject and adds depth, meaning, and appreciation to what is being observed.

Contemplation through the Creation of Art

Creating art also fosters contemplation, inviting both the creator and the viewer to engage in reflection and introspection. It allows them to dwell in a space that moves both inward and outward—navigating the many layers of meaning that extend beyond individual identity.

This is evident in the works of Romantic artists like Caspar David Friedrich and William Blake, who used art to explore themes of spirituality, human frailty, and the sublime. Friedrich’s paintings, such as Wanderer Above the Sea of Fog, encourage viewers to contemplate humanity’s smallness in the face of nature’s grandeur, while Blake’s intricate, visionary illustrations offer meditations on divine and metaphysical themes. German philosopher Martin Heidegger also explored this reflective dimension of art, proposing that art has the power to “bring forth” truth by revealing deeper dimensions of being (Heidegger 38).

As artists reflect on their subjects, they inevitably confront their own perceptions, fears, and aspirations—making art a mirror through which they come to see both themselves and the world more clearly.

Meditation through the Creation of Art

Creating art can become a form of mindful practice, where focused attention and repetition align the body and mind. Observational and imaginative drawing and painting, in particular, compel us to slow down and reorient ourselves, encouraging us to give our full attention to what is before us—whether that be the artwork itself or the subject we are observing. This focused engagement quiets the constant chatter of the thinking mind and fosters a more present, mindful state.

By directing attention to a single point of focus, the artist may enter a flow state, channeling undivided energy and intention into the work. In this way, the act of creation can become a sacred and restorative process.

Thomas Merton noted that true art arises from a state of inner stillness and contemplation. He writes, “Art enables us to find ourselves and lose ourselves at the same time” (Merton 36), highlighting the meditative duality of art as both self-discovery and transcendence. Similarly, Thich Nhat Hanh equates creativity with mindfulness, emphasizing that the act of creation is most profound when it arises from deep presence. He explains, “When you touch something with deep awareness, you touch everything” (Thich Nhat Hanh 112), suggesting that art can be a meditative practice of connection—with the world and with oneself.

Prayer through the Creation of Art

The products of art—paintings, sculptures, and other visual works—have long served as physical reflections of the abstract spiritual realm. As such, art has functioned as a medium for prayer and spiritual development. Examples range from depictions of various deities to spiritually instructional works such as thangkas (Tibetan Buddhist paintings) and paubhās (religious paintings from Nepal).

The Buddhist practice of creating mandalas, dating back to the 1st century BCE, combines chanting, blessing, meditation, prayer, and contemplation on scripture or deities—transforming the act of creation into a deeply spiritual process. Similarly, Christian traditions such as Eastern Orthodox iconography (circa 500 CE) and illuminated manuscripts (circa 400 CE) integrate prayer, blessing, and meditation. These works are not only devotional in their making but also serve as focal points for veneration and spiritual reflection.

In these traditions, both artist and viewer seek tangible connections with the spiritual realm, using art as a mirror to reflect divine concepts such as creation, God, good and evil, the afterlife, and ultimate truth.

Artistic creation can reveal profound truths about the self and one’s relationship to something greater. Carl Jung believed that creativity could access content from the unconscious and deeper layers of the psyche, making art a path toward self-discovery and spiritual insight. Sigmund Freud similarly observed that visual forms dominate human experience, suggesting that the frustrations of articulating dreams and emotions could be alleviated through drawing (Freud 23).

In these ways, art becomes both a spiritual and psychological conduit—offering creator and viewer alike the opportunity for deep personal reflection, devotional practice, and a meaningful encounter with the divine, both within and beyond the self.

Works Cited

Freud, Sigmund. The Interpretation of Dreams. Translated by A. A. Brill, Macmillan, 1913.

Heidegger, Martin. Poetry, Language, Thought. Translated by Albert Hofstadter, Harper & Row, 1971.

Merleau-Ponty, Maurice. Phenomenology of Perception. Translated by Donald A. Landes, Routledge, 2012.

Nietzsche, Friedrich. The Birth of Tragedy. Translated by Walter Kaufmann, Vintage, 1967.

Thich Nhat Hanh. The Miracle of Mindfulness: An Introduction to the Practice of Meditation. Beacon Press, 1999.

Merton, Thomas. No Man Is an Island. Houghton Mifflin Harcourt, 2002.

About the Author:

Mano Sotelo is an Arizona-based artist, author, and educator. His graphic novel The War in Heaven blends mythology, philosophy, and spiritual symbolism into a visual allegory of belief, conflict, and the search for inner peace.

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