The Soul of the World

The second painting of The Soul of the World series carries multiple layers of meaning. It represents the conscious and the unconscious (depicted on canvas above and below the surface), and the soul symbolised by a dandelion clock expressing its fragility and potential to spread thoughts; the material and immaterial essence of human beings, as well as personal development according to Carl Gustav Jung. He maintained that the only way to achieve wholeness is by linking the conscious and the unconscious through bringing unconscious contents to light. He termed this process individuation. If one cannot plunge into the depths of one’s inner self, true authenticity remains unreached, the boundary between one’s own dreams and the expectations of others becomes blurred, and the individual remains trapped within the ego, severed from their true essence.

The universe of one’s own unconscious can be explored through deep conversations, self-reflection, dream analysis, reflective writing, listening to music, perceiving artworks, reading books, meditation, spending time in nature, or during spiritual experiences.

The roots symbolise the unconscious hidden beneath the surface—the source from which our personality grows with all its specificities. It is a subtle, complex, and sensitive system that responds to every impulse from the environment. At the same time, the artwork alludes to the roots of humanity—history and the collective unconscious. My intention was to capture the dichotomy between the material component, represented by a suit, and the immaterial one, symbolised by the roots and the dandelion. In contrast to the garment painted in oils, these are drawn in pencil and pastel, which highlights their immaterial character.

The third painting in this series, in addition to the meanings mentioned above, represents relationships arising deep within the unconscious, along with their fragility and intimacy. It symbolises the conscious and unconscious connection between people and the resulting vulnerability, as well as mutual influence and the exchange of thoughts.  

The fourth canvas depicts a being that bears human and plant characteristics, as well as less obvious animal traits (the crown of the tree resembles a swarm of bees or cheetah spots). It symbolises the soul of the world, the interconnectedness of all living beings on Earth, including humans.   Research shows that consciousness is not exclusive to humans and animals—plants possess it too, communicating with each other in various ways, for instance, through their roots. On another level of interpretation, the painting again refers to personal development—the Jungian wholeness towards which an individual moves by making unconscious contents conscious. This psychological process is visually represented by the opening of the eyes. At the same time, the tree is a symbol of the Self archetype, which represents our inner voice. It guides us toward our authentic life path and helps us distinguish it from the noise of others’ advice, wishes, dreams, or demands that do not resonate with us upon deeper examination. The circular form created by the trees symbolises the infinity and immortality of souls, as well as wholeness. Awakening can also mean becoming aware of the need for greater sensitivity towards perceiving nature and the beings within it.