What would showing more care around your art making practice look like?
- Allow yourself to make art for fun, with no other outcome necessary
- Let go of needing to be productive or make something ‘valuable’
- Schedule art making time in advance, an unmovable appointment with yourself
- See art making as kind of sacred, important or nurturing activity that must not be interrupted
- Switch your phone off or to aeroplane mode so that you have no notification distractions while making art
- Tell loved ones to give you space to create alone
- Invite loved ones to join you making art
- Allow yourself to make ‘bad art,’ let go of it needing to be ‘good’
- Stop comparing your art to other artists or art makers
- Ignore the voice of internal self-judgement and make art anyway
- Ignore the voice of negative criticism once you’ve made your art and make more art anyway
- Allow yourself to follow your creative curiosities
Pick anyone of the above to show yourself more care.
“Your own reasons to create are reason enough.” Advice from Elizabeth Gilbert in Big Magic, who believes following your curiosities will lead you in the right direction; if you can give yourself permission and time to follow them. “Merely by pursuing what you love, you may inadvertently end up helping us plenty… Do whatever brings you to life, then. Follow your own fascinations, obsessions, and compulsions. Trust them. Create whatever causes a revolution in your heart. The rest of it will take care of itself.”
While making art for fun is the reason, purpose and outcome of the process, we get caught up with needing to make something perfected and of value (i.e. it’s been worth the time invested to produce a physical thing). Instead of it being about how many valuable things you can make, what if if was about having fun creating? Gilbert explains “Why should I go through all the trouble to make something if the outcome might be nothing?” The answer will usually come with a wicked trickster grin: “Because it’s fun, isn’t it?”
Wanting to create a finished, perfected thing can halt the whole creative process. Instead of making something good, make something that’s done. Progress is always more beneficial than perfect: “if you can just complete something – merely complete it! – you’re already miles ahead of the pack, right there. You may want your work to be perfect, in other words; I just want mine to be finished.” Moving on quickly to make more art is a muscle that needs to be exercised regularly so that we become less precious about making mistakes, and allow our creativity to flow. “At some point, you really just have to finish your work and release it as is – if only so that you can go on to make other things with a glad and determined heard.”
You are your own biggest critic, the only one that notices all the imperfections and rough edges in your art. Nobody else is keeping score because they’re too busy focusing on their own imperfections. Gilbert encourages us to make imperfect work and agrees that nobody is paying any attention anyway: “Pursue whatever fascinates you and brings you to life. Create whatever you want to create – and let it be stupendously imperfect, because it’s exceedingly likely that nobody will even notice. And that’s awesome.” [emphasis added]
Interesting insight into the writing process from author/musician/screenwriter Jeremy Dyson via his interview on The Comedian’s Comedian Podcast by Stuart Goldsmith (Episode 241 – Jeremy Dyson 3/4/2018). While he speaks from a writers perspective, it’s relevant to any creative field. ‘Not-working,’ incorporating play and being fascinated with what you’re doing are key themes.
Preparing the soil:
“So much of the work of writing happens when you are not doing it… you’re not actually doing the work, you’re preparing the soil and the work happens when you’re not thinking about it.”
Balancing work and play:
“…the creative process, it’s always a dance between both [work and play] and you’ve got to get them in the right amount. You can’t just have the hard work without the play because it’s deadly and you can’t just have the play without the discipline of a tangible date when the show’s going to be on… because you won’t do anything.”
Your best work:
“It’s about what have you got to offer, what’s particular to you that’s gong to be interesting to other people. And again it’s not mild interest, it’s passion, absolute fascination. What’s your obsession? And that’s where you do, I think, your best work, that’s where you’ve got to be.”
Creatives constantly sat at a desk ‘working hard’ is an outdated idea when it comes to producing good art. Engaging in conversations, thinking, dreaming and pottering around can allow your brain to think more divergently compared to actively thinking hard about what you should make next. Mihaly Csikszentmihalyi in Creativity explains “This does not mean that creative persons are hyperactive, always “on”, constantly churning away… They consider the rhythm of activity followed by idleness or reflection very important for the success of their work… a strategy for achieving their goals.”
Also the interviewer and comedian Stuart Goldsmith made an interesting comment about the joy of discovery:
“The first half is very enjoyable, it’s a strong show. The second half… does occasionally make me think that I should just do work-in-progress for the rest of my life. I think it suits my energy. As soon as something becomes fixed I find myself going “Well that is fixed and I know how this works.” And it works, it really works, it’s great fun, but it doesn’t contain the same joy of discovery for me and I think maybe I’m a joy of discovery person.”
Can you learn to find joy in the journey of creating where learning and developing is the goal, instead of just focusing on the finished, final artwork? The process of discovery is a richer experience when you haven’t figured everything out.
Becoming an expert can lead to playing it safe by repeating the same patterns of what’s previously worked. What if you fail once you’ve had a taste of success? Better stick to what you know because that’s what worked in the past…
But in Bowie: The Man Who Changed the World, David Bowie’s chameleon approached to making music was highlighted. “As far as style is concerned, I don’t really think that I want to have a style. Sort of ‘Oh yeah, that’s a David Bowie sound’ y’know? I’d much prefer to be sort of a free agent as my enthusiasms take me.” Bowie followed his curiosities, even if they were different to what what he’d been inspired by before. His enthusiasms were his pathway to the next project.
Cai Guo-Qiang in Skyladder: The Art of Cai Guo-Qiang is asked is there is something he particularly likes about collaborating with untrained artists? He replied “Yes, a lot of artists do things that are too commercial. It lacks some compulsion and sincere emotions that should exist in all art.” Becoming commercial may mean following the same formula of creation which becomes more important than pursuing new avenues of creation.
‘Shoshin,’ a word from Zen Buddhism meaning ‘beginner’s mind,’ refers to having an attitude of openness, eagerness, and lack of preconceptions when studying a subject, even when studying at an advanced level, just as a beginner would. In Shunryu Suzuki’ book Zen Mind, Beginner’s Mind “In beginner’s mind there are many possibilities, in the expert’s mind there are few.”
Beginners mind allows you to experiment with more freedom and discover unexpected and divergent results. Ultimately this creates richer, more diverse work because you’ve cast your research net wider. We can become rigid when making art by sticking to ‘rules’ adopted in the past. We initially created those rules from the unknown through experiments, but they become fixed quickly. We can tightly cling to them as we try to create order out of chaos because perhaps then we feel (perceived) control in an uncontrollable world? Take inspiration from Bowie and Guo-Qiang and follow your curiosities, be open to new possibilities and don’t be so concerned with everything being in the same style. Adopting a beginner’s mindset allows us to be open to new, divergent and unexpected ideas, where magic could be revealed and explored further.