Archive for December, 2016

Major Project Notes: Nature Deficit Disorder

Briggs, H. (2016, November 26). All you need to know about nature deficit disorder. BBC Science & Environment. Retrieved from http://www.bbc.co.uk/news/science-environment-38094186Your days are spent under artificial lights in an office, while the last of autumn’s blooms are hidden beneath piles of decaying leaves.

NDD, or nature deficit disorder, has become a buzzword of late.

Although it’s not a recognised medical condition, concerns about its effects on wellbeing are attracting widespread attention.

“I guess it’s a symptom of current lifestyle,” says Dr Ross Cameron of the department of landscape at Sheffield University.

“We’re so clued into modern technology and things that we’re less observant about the world around us and we’re more likely to learn about wildlife ironically from a David Attenborough programme than maybe from a walk in the woods.”

Richard Louv coined the phrase Nature Deficit Disorder in his 2005 book Last Child in the Woods.

He argues that all of us, especially children, are spending more time indoors, which makes us feel alienated from nature and perhaps more vulnerable to negative moods or reduced attention span.

Dr Cameron gave his views on the subject in a lecture at the Royal Horticultural Society this month.

“[The phrase NDD] has been used as a bit of a coverall to describe the thing of where we used to have natural processes, natural experiences in our life, and that seems to be becoming less common,” he told the BBC.


Ways to bring nature back into your life

– Any green environment – from pot plants to weeds – can provide green space that attracts wildlife and exposes people to the benefits of the natural world.

– Some green spaces are better than others – for example, small-leaved conifers such as the Scots pine and Junipers are good at capturing pollutant particles.

– Fast-growing trees such as the Paulownia and Catalpa can lock up excess soil nitrates.

Source: Royal Horticultural Society


There’s “another throwaway term, which is ‘nature knowledge deficit’, where we don’t understand as much about the natural environment as we used to, he explains.

And if we don’t experience natural places or “tinker around in the garden”, this can be bad for our mental health.

“As biological beings we are physiologically adapted to be in certain environments – to run, to play, to hunt, to be active basically,” says Dr Cameron.

“The reality is we tend to have the lifestyle of a brick at the minute. We tend to sit for most of the day – we tend to be very sedentary.”

His job is to think about how green spaces can be integrated into landscapes. So, could this be part of the solution?

“I’ve not sure I’ve got a cure,” he laughs. “Landscape is obviously a very open-ended and undefined term.

“But basically any interaction with nature/green space seems to have some potential. I would argue that as you increase the scale and quality of it, the benefits also increase.”

But he says even small and simple connections with nature can “give people a buzz”, be it a robin at the front door or sitting in the garden watching a butterfly.

“We’re quite interested to understand what those little positive effects have – those little things you notice in nature,” he explains.

“You don’t necessarily need to go to the Rockies or go to see blue whales off the Azores or anything like that.

“It’s trying to see how much of these everyday things people notice, recognise and get a positive emotional response from.”

 

Briggs, H. (2016, November 26). All you need to know about nature deficit disorder. BBC Science & Environment. Retrieved from http://www.bbc.co.uk/news/science-environment-38094186

 

On kindle! To read over Christmas

Louv, R. (2011). The nature principle: Human restoration and the end of nature-deficit disorder. London, United Kingdom: Algonquin Books of Chapel Hill.

In what ways can we subvert resistance in order to free our creativity in relation to practice?

In what ways can nature help develop creativity in relation to practice?

– It can provide the subject matter from which to draw inspiration

– As adults if we are able to tap into that part of us that developed a relationship with nature as a child I believe that we can also explore the part of us that created things as a child. Nature is Creativity and we can evoke those feelings of adventure, playfulness, fearlessness, awe and wonder and channel it into our practice.

– It can improve our mental and physical health and therefore we feel more positive and able to be creative

– It can provide materials with which to be creative with

– We can be creative with growing, cooking and sharing food.

– We create communities and develop friendships with those that we can experience nature with.

– I can base my workshops around this theme. Using nature as inspiration: colour, texture, materials etc.

 

My project could simply be the documentation of this process. I have found with the research I have done into creative blocks that the subject matter or tasks that include looking into nature or the everyday mundane objects are the one’s I have really enjoyed. The process of making, posting and building a supportive social media network has been important, not necessarily the time constraints. The constraints I have enjoyed playing within have the subject matters, the experimentation with materials and adventurous spirit, use of colours and the element of childlike fun.

Using nature as inspiration to produce a body of creative work.

Looking closely at things in nature that people usually take for granted but when closely observed people get a positive response from. Like daisies in the crack of a pavement.

“It’s trying to see how much of these everyday things people notice, recognise and get a positive emotional response from.” – BBC article about NDD.

Relates to Georgia O’Keefe’s work about noticing things in detail – really looking at nature.

Major Project Ideas: Wildlife Organisations

I am drawn more towards how nature can help to improve wellbeing, health and creativity  for adults as there are already schemes that do this for children. It would be interesting to research into how many hours the average adults spends looking at their screen instead of going outdoors, drawing, painting, cooking, sewing etc.

I’d like to encourage adults to be more creative through workshops with a focus on nature. Nature and creativity work hand in hand. Getting outdoors can inspire you to be creative and is essential to wellbeing – if you feel happy then you are more like to be creative.

Within my own practice I would like to document my experience of British wildlife as a celebration of nature and then engage others directly through creative workshops.

If I were to focus on British wildlife that can be found nearby, in gardens, parks, beaches and forests, this opens up opportunities to put my illustrations into context by speaking to wildlife organizations like:

British Wildlife Magazine: www.britishwildlife.com

The Wildlife Trust – Hampshire and IOW Wildlife Trust: www.hiwwt.org.uk

“The Wildlife Trusts, children, nature and John Lewis

(Celebrating our Wildlife – www.wildlifetrusts.org/Christmas)

The Wildlife Trusts have been helping children to enjoy and learn about nature for more than 50 years – that’s why we are thrilled to be this year’s charity partner for John Lewis’ Christmas ad, which features UK wildlife.

The Wildlife Trusts believe passionately that nature is essential to children’s wellbeing

Evidence has been growing for several years pointing to the array of health and social benefits to be derived from contact with the natural world for all ages. We know that first-hand contact with nature is good for children – it makes them happier, healthier and more creative; for some it can have a life-changing impact.

As part of our work to ensure that more children have an opportunity to enjoy regular contact with nature, The Wildlife Trusts aim to use the funds donated by John Lewis to work within schools, including funding wildlife packs for schools, containing activity booklets, and ‘wildlife’ resources for teachers to use in lessons.”

The twite aren’t alright – Article

Mural by Matt Sewell

I would like to do murals in my garden and studio!

 

“Winter wildlife can warm the heart but nature needs our help to survive. Join the RSPB & give nature a home.”

Major Project Notes: Rambling Reflections

During my major project I want to continue developing my work with watercolours and textiles, experimenting with colour, mark making and composition in order to create work that has an element of magic: fresh, vivid and engaging!

Over the past two months I have challenged myself by completing two month long daily drawing/creative projects. Making something everyday has certainly improved by drawing and painting skills considerably and I feel as though I am on track to developing a recognizable and distinctive style using ink, watercolours and textiles. I have been able to free the creative and childlike part of me that finds pure joy in the process, not worrying about failing or what others may think.

I would love to produce a body of work that celebrates nature and its effects on well being and creativity. A few of the Unblock projects in ‘Creative Block’ by Danielle Krysa suggests similar ideas about getting outside, taking a walk around the block and finding new and interesting places to draw. This engages with the part of us that we are more ready to satisfy when we are children: spending all day outside in the garden making up adventure stories, in the woods building dens or on the beach making sand castles. Our creativity and imagination is always there, it never goes away, but instead is clouded by the resistance and fear over years like plague on our teeth and it takes a lot of effort to chip away at it.

I want my work to inspire those that see it to get outside, leave their desks and screens and appreciate the wonders of nature that we so easily pay no attention to and take for granted.

I want to bring a sense of awe and magic to the seemingly mundane. This relates to the ‘Creative Unblock Project No. 09’ by Matthias Heiderich from ‘Creative Block’

“Sometimes the reason for a creative block is not being able to stay focused on one thing, your brain feels like a big knot, and you only think of your kitchen that needs a cleaning, etc. It makes sense to stop working then, and re-sharpen the senses. Trying to see the banal objects around you in a new light can be a good brain boost. What’s more obvious that exploring the neighbourhood, the houses, the balconies, the sidewalks, the shop windows, the gardens on your block, instead of being locked up in your studio?”

I want to reveal the hidden gems that surround us in our gardens, parks, forests, beaches that are so easily in reach but that most people don’t acknowledge or know about.

And for those people who can’t access these places I hope that my work will bring happiness and well being and inspire them to perhaps makes steps to encourage wildlife to their own homes like bird feeders, window boxes with wildflowers etc.

My Nan is 93 years old and even though she can’t get out easily she loved to watch the wildlife in her garden and can recognise so many different types of birds. There are also squirrels, hedgehogs, foxes and rabbits. Although she’s not fond of the squirrels!

I would also like to run workshops alongside producing my won artwork so that I can continue to inspire people to be creative and try a range of techniques: painting, drawing, printmaking etc.

The illustrations I produce based on British Wildlife could then be made into prints, fabric and wallpaper designs and small scale publications as well as illustrated journeys to these ‘hidden gems’ in Southampton like Netley Abbey for example.

I want to explore the use of typography further. Words can be so powerful alongside illustrations and so I feel this is something I could certainly develop further.

I have enjoyed combining materials and technique like printing onto fabric, painting and sewing. I’ve not used a lot of watercolours before, however, the Creative Block projects over the last month have inspired me to push the boundaries of this medium in order to achieve depth and a vivid and wide range of colours.

I’d be interested to experiment with 3D work more – perhaps translating my drawing into sculpture of 3D fabric work.

I have also been exploring hand drawn animation for some professional work I’m doing at the moment and so could experiment with bringing this into my own practice too.

Transforming the ordinary into the extraordinary.

Inspired by the BBC/David Attenborough wildlife documentaries like ‘Planet Earth’ and ‘Frozen Planet’ because they look at things so closely from the tiniest insect to an enormous mammal. Things that most people would miss. I want to shine a light on the creatures that we don’t pay enough attention to and if we did perhaps we’d be more considerate when it comes to habitat destruction, manicured gardens etc.

This related to the research I did about Georgia O’Keefe for my Pechakucha – looking at flowers, plants and skulls in so much detail that they become more abstract, focusing on colour and form.

Identify Textual Research:

Wonders of Life – Brian Cox

Danielle Krysa’s book

David Attenborough Books

History of British Wildlife

I plan to do much more gardening next year so perhaps this could form some material like the little artist’s book Jackie showed me. Documenting the wildlife I find and ways I encourage it into the garden. My studio is situated in the garden – some of my work could be creating murals within this space.

I would like to maintain the good habits that I’ve learned from ‘Inktober‘ and ‘Blockvember’ – getting into a good routine in my studio of making something everyday no matter what – no excuses. I’d like to keep an experimental approach to my work, producing art in a variety of mediums and materials. This could include working on murals in the studio or garden.

 

#23 QofR: Back to the Question!

questionfromsketchbook

 

On Tuesday 14th December we are required to summarise our findings, reflections and research from this project in a 20 minute presentation. It’s been a real challenge to fit everything in but I’m nearly there! I have tried to refer back to the question consistently in order to communicate my journey in the most effective and clear way.

#22 QofR: Creative Block Workshop at The Art House 7/12/16

On Wednesday evening I hosted another ‘Creative Block’ workshop at The Art House Cafe. It was a smaller group than last time but made for a very relaxed and informal session and the group took more time to finish one piece rather than rush through too many exercises. The first step was to make blind contour drawings (drawing without looking at the paper) of items from our bags, pockets or objects from the café, chose our favourite ones, cut them out and used them to create a collage.

To see photographs of all the artwork from this class click here!

The feedback from the group was that they enjoyed the workshop and it was very relaxing and theraputic. Making blind contour drawings means you have little or no control over the end result until you look at the paper and start to add colour. The simplicity of line is very effective and often creates drawings with a lot of character, emphasising the most distinctive qualities of that object.

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One participant had overlapped her contour drawings of a frog ornament, chess piece and key, so decided not to make a collage as the composition worked so well already.

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This person made contour drawings of objects that were personal to him and then used ink to write ‘Beauty comes in many forms’. He got frustrated that this element wasn’t working the way he’d intended so ripped the pieces of paper up. I suggested that he used these to make another collage rather than worrying about getting it perfect – I think this worked well and he was very happy with the result.

The group then gave each other 'Christmas Drawing Lists' for a bit of inspiration if they'd like to continue over the holidays!

The group then gave each other ‘Christmas Drawing Lists’ for a bit of inspiration if they’d like to continue over the holidays!

#21 QofR: Answering a Question with a Question

At the beginning of this unit we were told that we can’t get it wrong, that there is no right answer and that we’d probably generate more questions than we answer…and now I can see how true that really is! In Mike Harkins’ lecture he explained that our research should have a focus, a perspective, a way through – because we can’t explain everything. He equated this focus to a white dot on a black square of paper and that our work should show the journey of this dot:

screen-shot-2016-12-05-at-12-13-09

My question or ‘dot’, if you like, ‘In what ways can subversion help develop creativity in relation to practice?’ has taken several forms:

‘In what ways can I subvert my own practice in order to develop my own creativity?’

‘In what ways can I subvert practice in order to develop another person’s creativity?’ (Workshops)

‘In what ways can we subvert resistance in order to develop our creativity in relation to practice?’

A quote that has really stuck with me is from ‘War on Art’:

“The part of us that we imagine needs healing is not the part we create from; that part is far deeper and stronger. The part we create from can’t be touched by anything our parents did, or society did. That part is unsullied, uncorrupted, soundproof, waterproof and bulletproof.” (Pressfield, 2012)

I now believe that creativity isn’t necessarily something that can be ‘developed’ as such but rather unleashed, exposed, freed.

In order to fulfill our true creative potential as artists, writers, actors etc we must learn how to beat our resistance on a daily basis.

And so the question transforms once again:

‘In what ways can we subvert resistance in order to free our creativity in relation to practice?’

“Resistance Never Sleeps: …fear doesn’t go away. The warrior and the artist live by the same code of necessity, which dictates that the battle must be fought anew every day.” (Pressfield, 2012)

In order to free our creativity we must accept that our ‘resistance never sleeps’ and we have a battle to fight every day. I believe that daily challenges are a brilliant place to start. The way we unleash our creativity is like a muscle, the more you practice the easier it gets, ideas flow better, techniques improve and because you being so productive you feel as if you can be more adventurous; you have nothing to loose, there’s always tomorrow. We are fighting the resistance we’ve developed over the years so that we are able to enjoy creating like we did when we were children. We are fighting to reconnect with the joy!

What was once a feeling of jealousy when you looked at other artist’s work is now a way to find inspiration. Danielle Krysa is also known as ‘The Jealous Curator’ – launched in 2009, she writes a daily post about an artist whose work makes her jealous. She says in the introduction to her book ‘Creative Block’:

“I spent a lot of time looking at other artist’s work. Whenever I found something I truly loved, first I would feel a rush of cheek-flushing inspiration – the kind that made me want to run out and buy ten new canvases so that I could become the next great artist of my time. But only moments afterward, I’d feel a wave of soul crushing jealousy – the kind that made me think, “Who am I kidding? I could never make something like that.” Negative and destructive? Yes.

Luckily, at that same moment, someone very close to me gave me a bit of advice. He said, “Jealousy that is kept inside becomes toxic, and it will eat you alive. But if you say it out loud, you can turn it into something positive: admiration. You need to do this.”

 

 

#20 QofR: Creative Block Workshop at The Art House, 7/12/16

On Wednesday 7th December I will be hosting an ‘Introduction to Drawing’ Workshop at The Art House Cafe. This will be the second in a series of ‘Creative Unblock’ sessions which I will continue in February 2017.

The group will complete a range of creative block exercises throughout the session, with the aim to build confidence and improve mark making skills while learning how to experiment with a variety of materials. This workshop will be perfect for total beginners and those who have a fear of the blank white page! A relaxed and friendly atmosphere suitable for all ages and abilities.

I will keep in mind the reflections from my last blog post:

“In order to develop our creativity in relation to practice we must fight to undermine our own resistance and subvert our own and other’s attempts to sabotage this.”

I’m planning to use some of the techniques suggested in Danielle Krysa’s book ‘Your Inner Critic is a Big Jerk’. Her idea of a ‘Bad Art Night’ is interesting. ‘You’ll eat, you’ll laugh, you’ll intentionally make the worst creation that you possibly can, and, by failing so epically, you’ll all win.’  Telling the class that what they make is going to be ‘bad’ anyway so they might as well have go raises the question is there such a thing as ‘bad art’? No, I don’t believe so…as long as what you’re making is genuine and something truthful then there can’t be anything wrong with that can there? My gut feeling tells me that it would be a challenge in itself and probably quite intimidating to look at a piece of paper and be told to make something awful. Perhaps instead I can incorporate this idea within other warm up exercises like my last workshop in order to make the group feel more relaxed and try to irradiate their fear of failing because what they produce may not be ‘perfet’

Krysa interviews artist Kim Werker about the idea of purposely making terrible things…

‘Nobody goes into starting a project…thinking about how valuable it might be to fail. That would be nuts.’

‘Now I just throw one project under the bus right off the bat. I make something that’s intentionally ugly. Grotesque, even. Because that’s what an epic failure would be, right? So I make something totally revolting, and then I gloat a little over how capable I am of spectacularly failing, and then I start over, knowing that whatever it is I do from that point forward will have to be better than my ugly thing.’

Krysa’s ‘Top Ten Rules to Play Within’ could also provide some inspiration for this workshop and I’ve already tried most of these in one way or another during ‘Blockvember’. These techniques would help to undermine the participants resistance by easing them in to a creative task and then building upon it. Gradually I hope to build their confidence in a fun environment so that they feel comfortable to experiment with materials, make marks and feel that they have achieved something very posistive.

A few of my favourites from this list:

– Choose one colour that you love, and then gather all of your supplies that you own in that particular colour and make something.

– Pull a sentence from a random place (social media, newspaper, an overheard conversation) and make a piece from it.

– Cut a sheet of paper into lots of tiny pieces and work on each bit knowing that they’re too tiny to be considered final pieces.

– Work on a surface that already has something on it. Incorporate the words, images into your new piece. For this I could take in some old books, wrapping paper, newspaper and magazines to work on. Giving an existing image new meaning.

– Chop up an existing image, rearrange it and create an entirely new composition. I could have a list of subjects to draw. Participants could spend 20 minutes or so making a drawing, not knowing that they have to cut it up to make a new piece. I like this idea…could form part of a collage using other materials and ephemera.

To finish off the workshop I could get the class to write down some words and phrases to look at when they’re feeling that creative block and inner critic take over, giving it a new name

‘Find brilliance in the Scraps’ – Spend some time drawing, writing etc on scraps of paper, screwing them up when you’ve finished each one. Then pick one at random and work on it.

 

Major Project Notes: Thoughts after Jonny Hannah’s Lecture at the University of Portsmouth on Friday 2nd December 2016:

johnnyhannahAfter Jonny Hannah’s talk today I was filled with energy and inspiration and wanted to get home to start making! I was particularly fascinated with his fictional world ‘Darktown’ and the artwork he has produced to build this fantasy including 3D painted, or as he likes to call it, ‘vandalised’, objects, linocuts, drawings, paintings and screen prints (on paper and wood). It reminds me of when I was a child and enjoyed making miniature gardens, pretend telephones and computers. I used my garden as if it were another world, watching the wildlife, chickens and ducks as if I were some sort of mythical woodland creature, born and raised in the wild.

I like this idea of seeing a garden through the eyes of a child. I would love for my project to have an element of fun and playfulness. I don’t want to loose the feeling of excitement and adventure that I’ve experienced over the last couple of months doing my daily creative challenges: experimenting with a wide variety of materials and trying new techniques such as screen printing on fabric, making or adapting 3D objects etc.

I could relate to what Jonny was saying about the benefits of producing work quickly and using the drawings from his sketchbooks within final pieces because of my daily challenges (Inktober and Blockvember). This means that the overall look of his work is fresh, raw and has a lot of character. It doesn’t look too slick or finished. He works predominantly in black and white and then adds colour using photoshop or through printmaking techniques.

I also love his use of typography. Some illustrations are created almost entirely from type, especially his book covers. I would love to experiment more with typography, multimedia work and could even create a mural on my garden wall.

I believe that my ideas for the proposal so far are too specific. I could produce a collection of work as well as workshops that celebrates nature. Work that doesn’t look too slick or finished, but instead showcases the materials and processes in order to inspire others and engage viewers with the subject matter.

Perhaps a celebration of British wildlife that can be found nearby, in gardens, parks, beaches, forests, urban areas etc. This opens up opportunities to put my illustrations into context by speaking to wildlife organizations like the national trust for example. My work could raise awareness of how to attract more wildlife into your garden. I could record journeys to beaches or forests which include maps, ephemera, photographs, overheard conversations etc.

I was talking to Jonny about Southampton and it’s hidden gems such as Netley Abbey and Totton Harbour. Perhaps I could illustrate guides to places like this and produce them as small scale publications.

This project would give me the freedom I need to keep my work fresh and excited for the next year and be something that I could carry on after I finish the course. I loved hearing about Jonny’s work branching our into fabric design and wallpaper designs too. This links to my very early thoughts about creating patterns and prints based on nature, taking inspiration from Avant Guard, ‘Art as a way of life’ – allowing me to make artwork that continuously crosses disciplines: art, craft, design, printmaking, drawing, painting, sewing, textiles, sculpture, animation etc.

#19 QofR: Subvert Your Resistance!

waronart“It was easier for Hitler to start World War II than it was for him to face a blank square of canvas.”

I’ve had this book sitting on my desk for a month with the intention of reading it for my major project proposal…I sat down to read it yesterday and in some glorious moment of serendipity I realised that the theories in this book were completely perfect for my Question of Research and made me see the subject in new light…that phrase ‘in a new light’…is spot on – I felt like a light switch had been turned on and the ideas just keep going *BING* inside my head.

So here it goes…and I’ll probably ramble on for a while so just bear with me – I have to get this out in one go!

In order to develop our creativity in relation to practice we must fight to undermine our own resistance and subvert our own and other’s attempts to sabotage this.

‘In what ways can subversion help develop creativity in relation to practice?’ – Through my research I’ve learned that it’s not our own or other’s creativity that requires subverting…undermining creativity sounds like a pretty terrible thing to do in fact! The element of ourselves that needs to be subverted is our resistance to be creative and so let others in. We have to fight the battle of resistance in order to encourage the creative, truthful part of us to write, act, draw, paint, sing…the resistance we feel is built up very gradually over years, by ourselves (fear, insecurity, lack of confidence) but often by others: negative comments, criticism etc.

How can we subvert other’s resistance to be creative? The methods I use, and plan to use in my workshops at The Art House cafe are designed to encourage individuals to let go of their fear of failing when it comes to making artwork – to become stronger and more determined to carry on even when they hear their that annoying voice inside their head telling them ‘It’s not perfect!’ or ‘Hide it, it’s not good enough for anyone to see!’ If we stop listening to our own resistant and fearful inner critic, one that loves procrastination, one that always dredges up the old school teacher’s negative comments, then we will be able to unleash our creativity with energy, love and excitement (and a pinch of self doubt and fear, of course).

Writing, thinking, drawing, painting, printing, walking, conversing, developing positive relationships with those that love and encourage you will all help you to thrive as a creative being. If you’re life is filled with these things then there is so space or time for resistance from yourself or others. It’s not something that can be done quickly and it won’t disappear –

“. . . gentleness is stronger than severity, water is stronger than rock, love is stronger than force.” – Herman Hesse

 (pg 14) Resistance Never Sleeps: …fear doesn’t go away. The warrior and the artist live by the same code of necessity, which dictates that the battle must be fought anew every day.

The ‘weapons’ we use to fight this battle against resistance will be vary from person to person but what I am learning is that because this isn’t a fight that will go away, ever, we need to be persistent – creating everyday…no excuses.

(pg 18) Resistance is Most Powerful at the Finish Line: The danger is greatest when the finish line is in sight. At this point Resistance knows we’re about to beat it. It hits the panic button. It slams us with everything it’s got.

(pg 19) Resistance Recruits Allies: Resistance by definition is self sabotage. But there’s a parallel peril that must also be guarded against: sabotage by others.

(pg 21-23) Procrastination is the most common manifestation of resistance because it’s the easiest to rationalise.

Immediate and powerful gratification: sex, drugs, shopping, masturbation, TV, gossip, alcohol and consumption of all products containing fat, sugar, salt or chocolate.

(pg 24-25) Trouble and Self Dramatisation and Victimhood (pg 27)

(pg 26) Self Medication

(pg 38) Resistance and Criticism: Of all manifestations of Resistance, most only harm ourselves. Criticism and cruelty harm others as well.

(pg 39) Self Doubt – reflects love, desire, ambition, dreams and aspirations. The counterfeit innovator is wildly self confident. The real one is scared to death.

(pg 40) Fear is like self doubt – it is an indicator and tells us what we have to do. Resistance is experienced as fear and the degree of fear equated to the strength of resistance. The greater the fear the more important the experience is to us.

“So if you’re paralysed with fear, it’s a good sign. It shows what you have to do.”

(pg 42) If you didn’t love the project that is terrifying you, you wouldn’t feel anything.

(pg 43) Grandiose fantasies are a symptom of Resistance

(pg 44) As soon as we step outside the campfire glow, our muse lights on our shoulder like a butterfly. The part of us that does the creating is too sacred, too precious, too fragile to be redacted into sound bites for the titillation of would be idolators.

It’s commonplace among artists and children at play that they’re not aware of time or solitude while they’re chasing their vision. The hours fly by.

(pg 48) The part of us that we imagine needs healing is not the part we create from; that part is far deeper and stronger. The part we create from can’t be touched by anything our parents did, or society did. That part is unsullied, uncorrupted, soundproof, waterproof and bulletproof.

Resistance loves ‘healing’. Resistance knows that the more psychic energy we expend dredging and re-dredging the tired, boring, injustices of our personal lives, the less juice we have to do our work.

(pg 53) Rationalisation is Resistance’s right hand man. It’s job is to keep us from feeling the shame we would feel if we truly faced what cowards we are for not doing our work. It’s one thing to lie to ourselves, it’s another to believe it.

(pg 57) Resistance can be beaten! We can destroy/undermine/subvert resistance in order to develop our own creativity.

Pressfield, S. (2012). The war of art: Break through the blocks and win your inner creative battles. New York: Black Irish Entertainment.