Musings from the Moonroom

Thoughts on Art, Inspiration, Creativity and Spirit


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Standing at Water’s Edge: Chapter 7

Connecting with the Audience and Meeting Deadlines

The final chapter in the section on relationships deals with the artist’s relationship with the audience. Dr. Paris starts this chapter with the following sentence:

The difference between artistic self-expression and creating a work of art is engagement with the audience. In creating a work of art, the artist is reaching out for the audience, attempting to convey or communicate feeling, experience, or idea. The artist is hoping to touch the audience in some way, to elicit a certain kind of response from them.

And the nature of our engagement with the audience throughout the creative process is largely determine by what perceptions we have about the audience. Such perceptions can include what they need and want and their expectations. Are they appreciative, approving, admiring? Or are they critical, hostile, withholding?

Where do these assumptions come from? From our previous experience and encounters with audiences. Positive experiences cause us to anticipate future positive responses; likewise a poor experience will cause us to anticipate that the next audience will also be critical. And when the experience was negative, we may stop our creative process or deny that the audience’s response matters at all.

This reminds me of the belief that if you’re rejected, the problem isn’t you; the problem is with the audience, the jury, the gallery owner. While this may be true in many cases (e.g. your contemporary art isn’t a good fit with a country theme show), we still take this rejection personally on some level.

In addition to our previous experiences with audiences, our assumptions about what to expect with and from others can be traced back to childhood.  According to Dr. Paris, new research on parent-infant interaction suggests that the way parents relate with their child forms the child’s prototype of relationships throughout life. That is, early interactions with parents organizes the child’s assumptions about what to expect from others. So a child who has regular and frequent moments of shared enthusiasm with his/her parents comes to expect this response and feels safe enough to allow immersion with others.

If our original interactions with others involved feelings of rejection or dismissal, we have the potential to develop more positive interactions but only if we understand how our reflexive positions help to re-create and maintain old patterns.

Dr. Paris also briefly discusses “parallel identities” where a child/adult is secure in his/her artistic relationships but insecure in his/her personal relationships. This often occurs when a child begins artistic expression and performance at a young age, develops confidence while performing, but cannot transfer those same feelings to personal relationships.

Maintaining Self

“The ultimate challenge in engaging with an other…is retaining our own sense of self while still responding to the needs of the other.”

Here Dr. Paris refers to our ability to maintain a balance with our audience. Do we concern ourselves with self-preservation, that is “I do what I do and the audience can like it or lump it.” Or do we only meet audience demand, that is “What I do is only as valuable as the audience’s response to it. I must give them what they want.”

While we may bounce from one extreme to the other, as creative types we cease to be truly creative if we merely fulfill a formula for audience approval. This belief can be applied to more than just a creative, immersive experience. Consider how you feel if you do anything in life just for someone’s approval.

Deadlines

How we deal with deadlines depends on several factors, including how we experience boundaries, especially those imposed by others and how a deadline is presented. Imposed deadlines can feel inhibiting; they become something to resist and rebel against. If the “deadline-imposer” is perceived as insensitive or unreasonable, we may feel paralyzed by the deadline. If the “deadline-imposer” offers support, we feel strengthened and supported.

Creating our own deadlines can be a way to reduce resistance. We do not feel at risk of being controlled by an outside force and we may view the deadlines as “helpful containers for our creative process.” Personally, I know I work better with deadlines, whether set by my self or set externally by an other. However, it is often easier to fudge a self-imposed deadline because an external force is not controlling the deadline.

Finally, Dr. Paris states that deadlines can be experienced as incentives; small, bite-sized, manageable chunks that help us remain engaged in the creative process and to fend off overwhelm. A reward along the way (chocolate chip cookies or taking a half-day hike?) or a celebration of your achievement at the end (hot fudge lava cake or a massage?) can’t hurt either.

Guides

Dr. Paris offers three guides at the end of Chapter 7 to help us understand our relationship with audiences.

1. To explore our assumptions about our audience. Make a reality check about your assumptions. Are these assumptions based on past experiences with audiences or based in previous experiences in personal relationships?

2. Set your own deadlines. With externally imposed deadlines, create your own smaller deadlines within the allotted time frame.

3. Break projects down into small chunks. If breaking a project down into manageable chunks isn’t your thing, break the project down into time frames. Setting time limits is another way to contain anxiety. Spend 30 minutes on a task and if you can’t immerse after 30 minutes, call it a day.

Join Me

I invite you to join me as I read Standing at Water’s Edge. You can purchase the book through Amazon, Dr. Paris’s web site, or perhaps find it at your local library or bookstore. My goal is to post every 7-10 days a summary of the chapter and share any a-ha moments that occurred. I welcome your comments on this and successive posts. Share your a-ha moments and experiences while reading the book. You can join in at any time. If you have a blog and are also writing about your experiences with this book, please include a link to your blog in your comment. I’ll include your blogs at the end of my posts.

Book Outline

Standing at Water’s Edge is divided into three parts with 10 chapters as follows:

Part 1: The Secret World of Creativity
Chapter 1: The Secret World of Creativity
Chapter 2: The Light and Dark of Immersion

Part II: Relationships
Chapter 3: The Need for Others
Chapter 4: Finding Strength in Mirrors
Chapter 5: Finding Inspiration in Heroes
Chapter 6: Finding Comfort in Twins
Chapter 7: Connecting with the Audience and Meeting Deadlines

Part III: Stages of the Creative Process
Chapter 8: Approaching Immersion
Chapter 9: Diving In
Chapter 10: Coping with Disengagement and Reentry


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Standing at Water’s Edge: Chapter 6

I apologize for not keeping up on my chapter reviews. The end of show season and upcoming holidays have sent my thoughts elsewhere. But, delay no more, here is the synopsis of Chapter 6.

Finding Comfort in Twins

In chapter 6, the shortest chapter thus far, Dr. Paris concludes her discussion on the three types of relationships that are important for creative types. So far, she has discussed “mirror” relationships and “hero” relationships. In this chapter the focus is on the “twin” relationship. That is, being with “like-kind.”

The twin (or “twinship” as Dr. Paris calls it) relationship is the relationship we have with people who are, essentially, going through the same thing(s) that we are. I’m sure you’ve experienced this type of relationship most often. This is the person who shares our same struggles and feelings.

In the twin relationship, we “connect with others who are experiencing the same things,” we feel “less alone” and freed to be more playful. This relationship also boosts our courage to immerse in creativity, comforts us when we’re stressed, and encourages us when we are filled with self-doubt.

Blocks and Fears

As in the previous two chapters on mirror and hero relationships, Dr. Paris provides examples of blocks and fears that may prevent the development of or the ability to sustain twin relationships.

Absence of Twinship Relationships

As always, we return to childhood, to those early relationships and how they impact our future development. In childhood, our first twin relationships might involve siblings, friends, or peers. Here we experience a sense of belonging. We feel part of a larger group.

Keep in mind that these experiences in childhood do not necessarily revolve around just any peer group. The others must be a good fit with the child’s temperament, physical, and emotional abilities and possibly life circumstances.

Successful early childhood experiences of twinship causes some people to readily seek out and establish these kinds of relationships in adulthood. However, for people who did not enjoy group experiences in childhood, developing these relationships as an adult is difficult. If the now adult person felt painfully different from others as a child, this identity of being different becomes established in adulthood. This leads to fear of exposing his/her “differentness” and subsequent retreat from peer and intimate relationships. And fear of exposure may inhibit one’s artistic endeavors.

Competitiveness

“Competition among peers can be a facilitating or an inhibiting force.”

I can relate to that statement because I hated competition as a child. And that feeling stemmed from a sense that I wasn’t good enough in the particular activity. Because I didn’t often feel a sense of accomplishment or success, it was easier for me to give-up or not try hard enough. You know “what’s the point, I’m just going to lose anyways” or “I’m not good enough.”

In this situation the perceived risk of failing in competition threatens one’s self esteem. It is safer to withdraw from competition than risk “annihilation of self-esteem and self confidence.” This often happens when the goal of the competition is about performance rather than process.

On the other hand, a competitive spirit can propel people to reach beyond their comfort zone. Seeing others take a “successful dive” can strengthen one’s hope that he/she can take a risk and achieve. Here a person may stretch beyond her fears in order to keep up with others.

Guides

This short chapter ends with two suggestions for creating or enhancing the twinship relationship

1. Seek out twinship relationships. Do you have a presence in a twinship group, a group of like-minded people? Consider taking classes, joining an art association or writer’s group.

2. Explore your past history with twinship relationships. Think about your peer groups as a child.

Join Me

I invite you to join me as I read Standing at Water’s Edge. You can purchase the book through Amazon, Dr. Paris’s web site, or perhaps find it at your local library or bookstore. My goal is to post every 7-10 days a summary of the chapter and share any a-ha moments that occurred. I welcome your comments on this and successive posts. Share your a-ha moments and experiences while reading the book. You can join in at any time. If you have a blog and are also writing about your experiences with this book, please include a link to your blog in your comment. I’ll include your blogs at the end of my posts.

Book Outline

Standing at Water’s Edge is divided into three parts with 10 chapters as follows:

Part 1: The Secret World of Creativity
Chapter 1: The Secret World of Creativity
Chapter 2: The Light and Dark of Immersion

Part II: Relationships
Chapter 3: The Need for Others
Chapter 4: Finding Strength in Mirrors
Chapter 5: Finding Inspiration in Heroes
Chapter 6: Finding Comfort in Twins
Chapter 7: Connecting with the Audience and Meeting Deadlines

Part III: Stages of the Creative Process
Chapter 8: Approaching Immersion
Chapter 9: Diving In
Chapter 10: Coping with Disengagement and Reentry


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Standing at Water’s Edge: Chapter 3

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The Need for Others

The third chapter in Standing at Water’s Edge is a preface to Dr. Paris’s discussion on relationships and the importance of relationships in the creative process. She begins with an interview with Loren Long, a book illustrator. In a nutshell, Mr. Long has an ideal situation: he has a strong connection to his family and his art. His family is a strong support network for him and his art. At the end of the interview, Dr. Paris tells Mr. Long: “I view your lifestyle as a sign of your strength, and I believe that your relationships with your wife and children support and enrich your ongoing capacity to create.”

Not that Mr. Long doesn’t have self-doubt. He does say in the interview “I guess that, in general, I always need someone to like my work. If they don’t, my self-doubt comes to the surface. You know, like I’m not living up to the grand fantasies I have about myself or about what my work should look like.”

I remember feeling that when I first started working as an artist full-time. I wanted everyone to like my art. The reality is not everyone will like your art. And I’ve come to accept that because I certainly know that I don’t like every piece of art I see either. However, as creative types, we all need someone (or several someones) to support us. The support we receive from relationships helps to keep us productive, happy, and energetic.

Dr. Paris sums this up nicely:

Positive relationships help to move us forward and help us to grow. Positive relationships also help the artist along in his creative process. Good relationships can bolster our courage to take the plunge into creativity. And likewise, not-so-good relationships, or a lack of relationships, can inhibit our dive.

I know from personal experience that I excel in the company of community. The year I participated in an art salon, I believe my business excelled because I was making and keeping goals and those in the group kept me on track. Since then I feel like I haven’t done quite as well, nor have I found quite the same support network.

Dr. Paris makes this additional point:

Although most people will agree that relationships are an important part of their life and that relationships help them to feel strong and capable, many people have a difficult time developing and sustaining these supports.

BINGO!

Personally, I believe some of this difficulty comes when people change, move forward or backward, change their focus, become overwhelmed by other factors in life, etc, etc. I do believe in that saying about people coming into our lives for a reason, a season, or a lifetime. The hard part is maintaining relationships. It takes effort from both persons.  As Dr. Paris points out Rather than striving to become self-sufficient and independent of others, we must seek to become better at creating gratifying relationships.

In this chapter, Dr. Paris talks a bit about psychology and human behavior and changes in this area over the last two decades. At the end of this discussion, she expresses her belief that creativity is more of a psychological state and process. It requires persistence, resilience, and determination (as various sources on creativity like to point out.) However, Dr. Paris believes that these traits are not a static or given ability. That the capacity to be creative emerges when we feel psychologically strong, safe, and understood by others.

But we all know that we are not all fortunate to have supportive friends, families, and others. So what do you do then?

Imagining Connection

Because of the belief that humans have a natural inclination for connection, it is possible that in the absence of real-life supportive relationships (or in addition to these relationships), imagining this kind of support is beneficial. In other words imagining supportive connections provides us the fuel to continue our attempts at creative immersion and sustains us through the various blocks and fears we encounter along the way.

Okay, I understand this point. I’ve done some visualization tasks, such as before heading off to an art show or before entering a gallery to present my work. And yes, it does give me a boost of confidence. This section also made me think a bit about the Law of Attraction and how visualizing can help bring about that which you desire.

Dr. Paris points out that while many artists are socially isolated or withdrawn, internally we are able to experience connections with others. And we often experience that connection with others through our art.

Before moving on to a discussion of three kinds of relationships, Dr. Paris poses two questions to consider:

What kinds of relationships do you need to facilitate your creativity?

What gets in the way of developing these kinds of relationships?

Join Me

I invite you to join me as I read Standing at Water’s Edge. You can purchase the book through Amazon, Dr. Paris’s web site, or perhaps find it at your local library or bookstore. My goal is to post every 7-10 days a summary of the chapter and share any a-ha moments that occurred. I welcome your comments on this and successive posts. Share your a-ha moments and experiences while reading the book. You can join in at any time. If you have a blog and are also writing about your experiences with this book, please include a link to your blog in your comment. I’ll include your blogs at the end of my posts.

Book Outline

Standing at Water’s Edge is divided into three parts with 10 chapters as follows:

Part 1: The Secret World of Creativity
Chapter 1: The Secret World of Creativity
Chapter 2: The Light and Dark of Immersion

Part II: Relationships
Chapter 3: The Need for Others
Chapter 4: Finding Strength in Mirrors
Chapter 5: Finding Inspiration in Heroes
Chapter 6: Finding Comfort in Twins
Chapter 7: Connecting with the Audience and Meeting Deadlines

Part III: Stages of the Creative Process
Chapter 8: Approaching Immersion
Chapter 9: Diving In
Chapter 10: Coping with Disengagement and Reentry


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Standing at Water’s Edge-Chapter 2

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Chapter 2: The Light and Dark of Immersion

In this chapter, Dr. Paris shares various scenarios on the struggle of immersion. I love the passage from Joseph Campbell that introduces this chapter:

Destruction of the world that we have built and in which we live, and of ourselves within it. But then a wonderful reconstruction of the bolder, cleaner, more spacious, and fully human life-that is the lure, the promise, and the terror…that we carry within

And so it can be with immersion; a struggle to begin, fear of starting, fear of the unknown, but the promise of a potentially wonderful outcome.

This chapter focuses on artistic blocks and how recognizing and understanding our blocks helps us get past them. And if we don’t recognize the nature of these blocks, we risk staying in a state of being unproductive.

I have to admit here that I still cringe at the word “productive.” The reason being the nine years I spent working as Speech-Language Pathologist. Whether I worked as a therapist for contract companies or whether I worked internally at a specific facility, we were expected to track our hours. Hours spent treating patients, time spent evaluating patients, time spent in meetings, etc, etc, etc. And though I understood most of the rationale for this (e.g. billable time), I couldn’t help but feel like someone was constantly looking over my shoulder. In some ways, it instilled a feeling that we weren’t trusted to do our jobs effectively.

Even today I tend to track my hours in the studio but sometimes I wonder if seeing that time written on a piece of paper contributes to my feeling guilty that I didn’t spend enough time working on my art or if it keeps me from getting started on a project in the first place. You know, because someone is looking over my shoulder checking to see if I’m being productive.

But I digress…..

In this chapter, Dr. Paris shares two examples of artists experiencing blocks and how they dealt with their individual situations (one through therapy, one through addictive behaviors.) But regardless of how these people dealt with their situations, the resolution in both cases revolved around understanding the situation and the significant role relationships play in the process.

It is when we disengage from one immersive experience and have no where else to turn for another immersive experience that darkness can set in. We become vulnerable to this “darkness” which may take the form of loneliness, hopelessness, feeling unsupported, or feeling worthless. The feelings may be fleeting or they may last for a period of time.

I can certainly relate to these feelings. I felt this way when I returned from France this summer. I now realize it was the immersive experience, the sense of community and friendship that made the trip so enjoyable. When I came home, I felt a sense of emptiness, loneliness, and overall blah. This is when I learned the importance of community in my artistic life. That is, connections.

Dr. Paris discusses five symptoms that can result as a lack of immersion and lead to blocks:

  • anxiety and restlessness which leave one feeling lost and without direction (yep, felt that one)
  • distrust and paranoia; lack of trust in the self and in others (sure, sometimes I don’t trust my self, my ideas out of fear of failure)
  • underachievement; that is, it is safer not to immerse and risk failure (yep, related to that one)
  • numbness and social isolation when the vitalizing effects of immersion are not present (makes me wonder if working in a home studio contributes to social isolation)
  • anger, aggression, and violence; connections with other detached and angry persons can lead to aggression

So many lightbulb moments here!

This chapter concludes with a section titled “The Light” and this sentence seems to sum it all up:

We know what we need: to feel special, to feel safe, to feel understood, and to feel connection.

In the guides section, Dr. Paris outlines three points:

  1. To be aware of and respect the fears you are facing. To take a deeper look at what fears you are facing. Awareness of these fears is the first step in stretching beyond them.
  2. Understand your dread to repeat. Here is where you want to identify previous experiences of disappointment, failure, etc and how you coped. Then identify moments of success. Together our memories of disappointment, failure, and success contribute to our fears, dreads, and hopes.
  3. Reach out for support. When you disengage from creativity, turn to other relationships or activities for immersion.

Join Me

I invite you to join me as I read Standing at Water’s Edge. You can purchase the book through Amazon, Dr. Paris’s web site, or perhaps find it at your local library or bookstore. My goal is to post every 7-10 days a summary of the chapter and share any a-ha moments that occurred. I welcome your comments on this and successive posts. Share your a-ha moments and experiences while reading the book. You can join in at any time. If you have a blog and are also writing about your experiences with this book, please include a link to your blog in your comment. I’ll include your blogs at the end of my posts.

Book Outline

Standing at Water’s Edge is divided into three parts with 10 chapters as follows:

Part 1: The Secret World of Creativity
Chapter 1: The Secret World of Creativity
Chapter 2: The Light and Dark of Immersion

Part II: Relationships
Chapter 3: The Need for Others
Chapter 4: Finding Strength in Mirrors
Chapter 5: Finding Inspiration in Heroes
Chapter 6: Finding Comfort in Twins
Chapter 7: Connecting with the Audience and Meeting Deadlines

Part III: Stages of the Creative Process
Chapter 8: Approaching Immersion
Chapter 9: Diving In
Chapter 10: Coping with Disengagement and Reentry


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Daily Tarot: The Empress

tarot-card-empress

Today’s Tarot card, The Empress, represents growth, prosperity, and fertility, and brings situations to fruition.  The Empress is represents of the female archetype in Tarot; the desirable female form but also loving, nurturing and mothering.

The archetype of this card is abundance, fertility, creativity, concern for nature, the arts, grace, beauty, and, at its worst, greed, possessiveness, and overindulgence.

The Empress manifests life throught the birthing process.  The earthly and heavenly symbols represent the integration of spiritual and earthly matters, realizing the full potential of the two, therefore creating the third energy.

The Empress is a card of nurturing in all its forms: creativity, work, children, and family.  She represents pregnancy, birth, motherhood, solid and happy relationships, and marriage.  This is a truly positive card.

Zodiac affinity: Venus