We received a letter last week from a reader, another Kate, not to be confused with Dumbo feather’s editor to whom it was addressed… By the way, we love letters.
For those without supersonic eyesight who can read the above, which is only the first half of the letter anyway, here’s a summation. Essentially Kate opened up a discussion about the creative process in her letter. Firstly she recognised ‘the creative spirit in the endeavours of those you[we] interview’ but then went on to express concern about the fact that in some of the interviews - and we think we know which one in particular - the creative process was ‘described as a mystical experience, almost religious in nature, that the artist is simply the vessel into which inspiration is poured from some higher being.’ She goes on to offer her view that instead the process is ‘largely consistent handwork’. We’d love to know your opinions on how much of ‘creativity’ is inspired - not necessary by some higher force, but rather by being ‘in the zone’ - and how much is hard slog and practice. If it is about being ‘in the zone’ how does that feel and what does that mean to you?
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11 responses so far ↓
I am writing from a musical (classical music, oh gods of practice and technique) point of view where the creative process can be largely covered by the huge amount of practice and rehearsal put into preparation for a performance. I consider the performance to be the sole artistic experience for both performer and audience, and remembering that music exists only in time, it is really so fleeting. There is a large difference in music, as opposed to other art forms, that we are recreating what someone else has already composed; their work of art, their masterpiece. We are bringing to life something that exists and lies dormant in dots on a page. And depending on one’s reasons for musical endeavours, one does act merely as a vessel in the means to creation. How and why and what we do with the dots is what I guess is considered the creative process in our world. I do believe that there are times of ‘higher experience’, or, ‘in the zone’ as they are often called, but these inspirations and feeling most certainly do not come regularly during hours spent in the practice room. But when you experience one of those moments (affectionately known in my life as buzzies) it is a cleansing feeling; nothing else matters, and everything else matters. And you forget everything and remember everything and you stop thinking and you start thinking even more. In my experience, they come, like all good moments in life, unexpectedly, when not pursued , when you stop thinking and often in the little little things. One needs to use one’s senses with wonderment and fascination, one needs to be as if for the first time: fresh and amazed. Because it IS really amazing. As the letter writer Kate describes the process as ‘largely consistent handwork’, I would agree that a large part of it is. Audience members can be extremely moved to any place in any world by a consistent, accurate performance, where at the same time the performer may well have felt nothing of it. At all. Anyhow, it’s all subjective and it’s all amazing. Find it in whatever you can, however you can, whether you are creative, creating or simply waiting for the train. Or actually don’t find it. It’s everywhere and nowhere. And when you stumble across it, or it stumbles across you, you lucky lucky thing. Remember it as long as you can.
Sorry for the rambly-ness. Hope there’s something in there that makes sense.
Personally, I find “the zone” and art coming from a “higher being” ways of describing the same thing (if not being the same thing).
It’s about being able to let go and really focus in the moment. I find this when I write and perform music, but also in other endeavours, like computer programming.
I find that when I slip into that moment of interaction I really zone out. Sometimes it happens quite fast (much to the amusement of my wife). That focus, and letting go of pre-conceptions and notions of being in control, is when the magic happens.
I don’t do a lot of improvising - a lot of my music comes from going over and over a piece. So the idea of “largely consistent handwork” is definitely part of it. But I find that the “handwork” simply helps guide me into a trance-like state where creativity can happen.
I find myself wanting to apologise for rambling too - perhaps that’s just the nature of the beast ;)
I’m going to have to go with 80% hard work, thinking/practice, boo boos, rework, tantrum throwing, and ditching the idea together - followed by the 3am ‘ding, I have the answer’ wake up call and then, in an almost meditative state (possibly due to the intense quiteness that I don’t experience during the daylight hours)being able to complete either the writing or the design concept I was working on (yes, this is the 20%).
As happened today, I reread a column I wrote and was quite surprised that I had actually written it. I must have been in the zone - or else I have a great copy editor.
(and they don’t call me rambling rose for nothing either)
What a fabulous discussion! My feel on it is that it is actually a very even 50/50 - the spiritual centre of your creativity/imagination/divine inspiration and VERY hard work.
I feel that one cannot exist without the other, I see it as the the YIN/YANG of the entire creative process. For an idea and inspiration to come kicking and screaming into this world involves dedication, resilience and persistence, absolutely agree with Kate.
The beauty of it however, is that it really is entirely a magical process, because I see the hard work as not hard at all. The late nights, the constant hashing and rehashing of concepts and designs… its all for a greater good, per se. I relish in the journey the hard work takes me, what do I experience? What do I feel? What I am I learning in this part of the process?
Is this ‘hard work’ not divine, like the core inspirational moment?
Its a part of the rich tapestry of the entire creative process as an experience. Each thread of divine inspriration that is met with hard work is blessed by an outcome, thus all elements are equal in weight and importance.. and purley magical.
Like with Sherry for me creativity is 80% preparation and 20% inspiration. It’s about ensuring the right environment, through preparation, for the creative to happen. I find coming up with an initial idea quite easy. But as a photographer and a director (TV commercials) the work part involves research, organising and briefing a team of people. Then on the shooting day it becomes creative again.
Being relaxed is important for creativity. I think I read in a recent Dumbo interview something described as ‘relaxed awareness’ which made sense to me. I think when you see truly inpiring performances in nearly any pursuit (visual and performing arts, sport etc), it often looks easy.
This ‘easy’ bit I think is for me the 20% at the end of all the work and preparation, when I am actually shooting. I think when I’m being really creative I’m open and free and vulnerable, ready to try anything, trusting my instincts. I think this is most likely to happen in an environment which feels essentially supportive. I work hard at trying to surround myself by people who are like minded as I find that helps.
Working with actors too I can see how vulnerable they sometimes have to be to really perform well. You are not likely to perform well if you are not relaxed and trusting. But as a director or photographer you also need to be relaxed and open in order help those in front of the camera.
I love photographing or directing artists as they can bring so much to the final result. Dancers, painters, actors. I’d include some spiritual people in that mix too like Buddhist Monks etc as they also can bring so much to the table in terms of a real entwining of ideas and energy which makes for a very exciting shoot.
I’ve only recently gotten back into pursuing my creativity as a worthwhile means in itself (just dropped my psychology major for creative arts…it was incredibly liberating!).
It’s been so difficult for me to pursue art-making even though it is something that i truly love because of the internal resistance and judgement that has somehow accumulated inside me as i’ve grown up. Why do i struggle so much to live a life that is “meaningful”?
I remember as a child my creative expression was totally uncensored and unrestrained and i never questioned it’s meaning or whether it was authentic or whether i had the right to dedicate my time to creative expression. These days, it’s something i have to work on. And it’s hard work!
But i’d have to say i definitely agree with Sarah’s statement that “Its a part of the rich tapestry of the entire creative process as an experience”
The creative process for me, i think, mirrors life itself: it’s messy. It can be bloody frustrating, or sometimes (dare i admit it) a little boring. But ultimately, these experiences are entirely necessary. They make the process, as a whole, very rewarding, and sometimes quite enlightening.
I’m realising now that embracing the creative process (no matter what media) perhaps holds the highest potential for learning a very valuable life lesson; it’s not perfect. It’s not ideal. And it’s certainly not all about the destination. I generally find it really hard to commit to the “less than ideal”. So commiting to a creative project from conception to completion is pretty daunting for me - but that’s what makes it so worthwhile!!!
I’m learning to embrace each moment that presents itself during the creative process and to accept the frustration, the doubt, the insecurity, the boredom, the fatigue and to not judge those experiences or try to transform them.
For me the answer of what produces creativity depends on if I am talking about myself being creative or I am observing someone else’s creativity.
Personally, creativity to me is less about hard work and more about thinking…the hard work comes later. The defined moment where an idea presents itself to you is what I consider to be true creativity. One can know what they want to do or accomplish without knowing a way to achievement. But how do we find the way to achievement? Each person has a different method and it is this unique process that spurns the beginning of many creative outcomes. For me, random wanderings around town thinking, looking and actually observing what I normally take for granted each day sparks ideas. Sometimes it can take days other times it can be years of being receptive to my outside environment before I find myself in the right moment where all the jigsaw puzzle pieces fall into place.
When I find myself saying “Uh huh! That’s what I will do”, that to me is the one true creative moment. It’s an intangible and priceless experience that also delivers a burst of motivation to produce a result.
A more tangible output becomes evident through hard work once the creative spark has lit a flame within. This output then gives others the opportunity to be inspired by looking, listening, smelling or tasting. It gives them the ability to say “that’s creative”. Many times I am that ‘other’ person and without the hard work going into produce the output, as an observer I would become deprived of others creativity.
Anyway enough banter from me.
Agreed Sarah - what an interesting discussion…… I love the depth and richness that such diversity of approach brings.
From my perspective as a visual artist who works mostly 3dimensionally, creativity is a really really hard slog. You have to be driven to it passionately- it’s not what I call a choice. I know some people who appear to be able to ‘wing it’ and make fabulous work in a short space of time seemingly effortlessly, but of course that’s not me! And I’m still trying to work out how they manage it!!
In my own experience, I generally work on a ‘body’ of work through which I can play out my ideas and expand on my concepts. Making work with serious intent is demanding like Jo said, and sometimes the concept is elusive to nut out and requires dedicated thinking. Usually (but not always) the making process which follows is a long and protracted one often dictated by the nature of the materials themselves and I have to bring a broad range of technical skills to that aspect of it so it can be tedious and yes, Jo, ‘boring’. The concept and technical aspects of work need to balance out or else you risk making hollow work that is technically brilliant but meaningless, or wanky stuff that’s poorly executed. Some pieces inevitably end up working better than others, but usually, the very best happen towards the end of a working session or close to an approaching deadline - like an exhibition when the ideas and the making process are finely tuned .
It is a fallacy I think (but one widely perceived to be real in the general community) to suggest that true artists work only when the inspiration hits them….maybe that is the perceived ‘zone’?? It’s certainly not my experience nor observation. And the two seconds artists spend swanning around drinking wine at exhibition openings is just a celebration of the culmination of ideas and often belies the months of hard work and tenacity that preceded it.
Most artists I know live and breathe their craft - it is a lifestyle as much as a career path and I believe that those flickers of sublime creativity that strike you when the work comes together better than you might have expected (our ‘zone’?) is why we all persist.
I’m not an artist but aspire to be one. I find myself thinking about my creative ideas almost obsessively (despite my day job!) and Catherine’s comment that “you have to be driven to it passionately - it’s not what I call choice” really resonates for me.
As a beginner, “the zone” is a tantalising fantasy place and getting there sometimes seems impossible. The overwhelming desire to reach it however, keeps me thinking, developing and practising the techinical skills.
For every minute of every day, that I spent at art school when I was 17 I was surrounded by art and creativity. Every class was based around art except for one english class. For 12 months I was emersed in a creative environment of classes and lectures. I focused hard and dedicated much of my time that year to my course. It wasn’t so much about the outcome but by the experience of learning.
Looking back at those 12 months I felt that it was the only extended time in my life where creativity was first at my mindset for my whole thinking pattern. When I walked to classes I would look at patterns of trees, I would look at light filtering through glass panels, I would draw outlines of shadows.
My mind thought colour, line, stucture well before it thought bills, responsibilities or expectations. That’s not to say these things weren’t there as part of my life, but my mind didnt give them weight.
Being creative was the closest thing to my soul, there was a calmness within and there was a sense of freedom. There is nothing else in my life that can give me this feeling of being totally at one with who I am.
15 years later I have found that freedom again in creativiy, by leaving a stressful job in the design industry that was controlled by corporate budgets. Now my mind has time to play without external bounderies, to be creative with some sense of freedom. I took a risk, dropped my salary, moved from the city and now I have time and clarity to draw the seaweed on the beach.
Is Kate objecting to the experience being described in supernatural terms?
If so, I’m certainly with her. But these are matters of ‘belief’. And those that see angels on pins and fairies at the bottom of the garden will tend to ascribe anything they don’t understand to mystical forces.
As to Dumbo feather : if that’s what the interviewee believes, then including it is reflecting this.
Psychologist Mihály Csíkszentmihályi has studied “the zone” (which he calls “Flow”) in depth. And it does indeed seem to come with a deep mastery of whatever’s involved (which can be sport, science, medicine - anything, as well as ‘art’).
But there’s no evidence of any supernatural involvement (though I know that won’t stop some from believing in it), somewhat mysterious though it can seem.