Have You Lost the Passion For Your Work and Feel Burnt Out?
I am an artist and have a natural tendency to help people when I
can with real life solutions. And when I discover a particular solution
can be used widely in solving a problem I try to share it with others
and enjoy hearing back from them telling me the successes they've had
using my solution. What I am about to share with you is stemming from
the world of art, which is my world; but it can simply be applied to any
other field with great success.
I don't want to distract those of you who are not in the field of art thinking that this is not for you, as the best and greatest canvas is life itself, and if we care for everything we do as a form of art and apply enough creativity, pride and passion to it, the great results of it become contagious and causes every observer of our work notice the beauty of what we create. See how you can apply this simple technique to ignite a new passion in anything you have lost your initial passion for.
As we take a look at someone who keeps doing the same thing over and over again - no matter what his activity is - we find someone who is unhappy about what he is creating. This is a condition that occurs when one's attention and concentration becomes fixated on one task and he ultimately finds himself faced with "debris." This is when "creating" or "producing," or "working" becomes an automatically a counter-creativity resulting in an accumulation of unwanted "particles." Can you think of an activity you had started with lots of interest and then gave it all up and then faced with its left over particles?
When someone is in an automatic mode of production, "debris" accumulate and he doesn't know what to do about them, and since he is still in a creative mode, he distracts himself from it by trying his hands in something else that doesn't appear to have - in his estimation - a whole lot of "debris" - a totally new thing. In the field of arts for example, one can easily abandon sculpture and adventure into painting and soon departs from this "debris-strewn" area as well.
When obsessive or prolonged creation
continue to flow in one direction, the resulting product becomes
deteriorated. The creation in this direction comes about because one
never exercises his ability of being there before his own work
comfortably and perceive his own creation objectively and be his own
observer or audience as part of his creative or production process.
Confronting his own work is seldom an essential part of his computation,
and he does not take responsibility for his own creation. When he
creates without closely observing or confronting, after a while he says,
"Well, I just can't do this anymore." What does this mean? It means
essentially that he can't take responsibility for his creation anymore,
he doesn't care to know about it, which means loss of control of it all.
Hence, we classify it with cliche' terms such as "burn out."
The panacea for the problems in creativity is the artist's, creator's or the producer's own ability to confront his own work - naturally and with objectivity. Any great artist who has gone into a decline or non-productivity, he has done so due to the absence of these two very pivotal factors: Confronting his own creation and taking full responsibility for having been the responsible source of cause for the effects he has produced in his work. - and no more.
He out-creates himself past the point where he should stop and stand back to observe, confront and examine his work. He continues to create beyond the point where he should realize that his effect has reached a sufficient level. Any time that confronting and observing objectively is turned automatic in creativity, another words, it is essentially incorporated into the creative process, its results become non-optimum. For fresh and joyful creation to occur, one needs to learn how to unfix his attention and concentration from the monotony of creating over and over again in one direction and diversify it by engaging in other creative activities simultaneously to revitalize himself and his imagination to ensure his mental and physical vigor for his next round of creative work and process.
An excellent maxim for any artist to follow is to learn how to create his main work intermittently with a few other related fields of his own interest. One cannot create optimally in any field without his personal and intimate experiences in a variety of other related endeavors; and this is especially essential to the life of an artist. And I have news for those of you who say, "But I am not an artist!" Yes you are! If you look up art in any good dictionary, you will find many great definitions such as: Human ability to make things, skill, craftsmanship, any specific skill or its application, creative work, products of creative work, paintings and sculpture, any craft, trade or profession, etc. But this also means doing all the above as "artfully" and as "professionally" as possible.
Taking a breather from time to time and engaging in multiples of creativity to complement your work is what makes each creation a fresh new joy. Painting for instance, is a creative process where big, solid, massive things in nature are translated into the nebulous realm of imagination and through the thinness of thought, expressed on canvas. But its quality and effective expressions results not from the ability to mix colors and skillfully apply them to the canvas. It pours out from an imagination enriched with many other facets of knowledge in humanities and skills that enables the artist to draw from a pool or resources stored in his imagination. Thus, painting from memory and inspiration, rather than imitating the environment.
Art is also a communication medium;
thus, it follows the same laws of communication. Too much originality in
art, beyond the boundaries of general agreements, blocks the flow of
communication to the viewer and throws the audience into unfamiliarity
and disagreement. Communication contains duplication of what is being
originated or forwarded, whether it is sonic, textual or visual; and
originality is the foe of duplication. How many pieces of art have you
looked at that made you wonder as to what is it?
Problems or lack of understanding in arts occur when techniques exceeds the general accepted level of workability for the purpose of transmitting the message. The quality of communication in a work of art is far more superior to the technical expertise by which it is created. Thus, perfection of technique should never occur at the expense of the message it is communicating.
When we are standing before a work of art that invites our attention, the instantaneous feeling of joy we feel as a reaction to the pleasure we sense, and the various interpretations that we engage in, by talking about it and completing it as our own work of art, are the signs of finding ourselves in the presence of a successful work of art.
Last but not least, can you stand before what you are
producing and be your very own objective audience, observer and critic
and truly feel the pleasure of your own creation? Can you accept full
responsibility for what you produce or do you lay the blame at someone
else's court for being the cause of what your work lacks, which makes
you feel not so hot about what you are producing? If you were someone
else who launched a very passionate project that required the employment
of a few talented and productive people to help you run it, would you
hire yourself? If your answer is yes, you are in excellent shape, if
not, then take a good look with a good sense of introspection and
examine to see how you can add some zest to your work, to your life and
thus permeate that zest to your environment. It will be contagious!
I don't want to distract those of you who are not in the field of art thinking that this is not for you, as the best and greatest canvas is life itself, and if we care for everything we do as a form of art and apply enough creativity, pride and passion to it, the great results of it become contagious and causes every observer of our work notice the beauty of what we create. See how you can apply this simple technique to ignite a new passion in anything you have lost your initial passion for.
As we take a look at someone who keeps doing the same thing over and over again - no matter what his activity is - we find someone who is unhappy about what he is creating. This is a condition that occurs when one's attention and concentration becomes fixated on one task and he ultimately finds himself faced with "debris." This is when "creating" or "producing," or "working" becomes an automatically a counter-creativity resulting in an accumulation of unwanted "particles." Can you think of an activity you had started with lots of interest and then gave it all up and then faced with its left over particles?
When someone is in an automatic mode of production, "debris" accumulate and he doesn't know what to do about them, and since he is still in a creative mode, he distracts himself from it by trying his hands in something else that doesn't appear to have - in his estimation - a whole lot of "debris" - a totally new thing. In the field of arts for example, one can easily abandon sculpture and adventure into painting and soon departs from this "debris-strewn" area as well.
The panacea for the problems in creativity is the artist's, creator's or the producer's own ability to confront his own work - naturally and with objectivity. Any great artist who has gone into a decline or non-productivity, he has done so due to the absence of these two very pivotal factors: Confronting his own creation and taking full responsibility for having been the responsible source of cause for the effects he has produced in his work. - and no more.
He out-creates himself past the point where he should stop and stand back to observe, confront and examine his work. He continues to create beyond the point where he should realize that his effect has reached a sufficient level. Any time that confronting and observing objectively is turned automatic in creativity, another words, it is essentially incorporated into the creative process, its results become non-optimum. For fresh and joyful creation to occur, one needs to learn how to unfix his attention and concentration from the monotony of creating over and over again in one direction and diversify it by engaging in other creative activities simultaneously to revitalize himself and his imagination to ensure his mental and physical vigor for his next round of creative work and process.
An excellent maxim for any artist to follow is to learn how to create his main work intermittently with a few other related fields of his own interest. One cannot create optimally in any field without his personal and intimate experiences in a variety of other related endeavors; and this is especially essential to the life of an artist. And I have news for those of you who say, "But I am not an artist!" Yes you are! If you look up art in any good dictionary, you will find many great definitions such as: Human ability to make things, skill, craftsmanship, any specific skill or its application, creative work, products of creative work, paintings and sculpture, any craft, trade or profession, etc. But this also means doing all the above as "artfully" and as "professionally" as possible.
Taking a breather from time to time and engaging in multiples of creativity to complement your work is what makes each creation a fresh new joy. Painting for instance, is a creative process where big, solid, massive things in nature are translated into the nebulous realm of imagination and through the thinness of thought, expressed on canvas. But its quality and effective expressions results not from the ability to mix colors and skillfully apply them to the canvas. It pours out from an imagination enriched with many other facets of knowledge in humanities and skills that enables the artist to draw from a pool or resources stored in his imagination. Thus, painting from memory and inspiration, rather than imitating the environment.
Problems or lack of understanding in arts occur when techniques exceeds the general accepted level of workability for the purpose of transmitting the message. The quality of communication in a work of art is far more superior to the technical expertise by which it is created. Thus, perfection of technique should never occur at the expense of the message it is communicating.
When we are standing before a work of art that invites our attention, the instantaneous feeling of joy we feel as a reaction to the pleasure we sense, and the various interpretations that we engage in, by talking about it and completing it as our own work of art, are the signs of finding ourselves in the presence of a successful work of art.
By Iran Lawrence
Article Source: https://EzineArticles.com/expert/Iran_Lawrence/74071
I
am an artist and have a natural tendency to help people when I can with
real life solutions. And when I discover a particular solution can be
used widely in solving a problem I try to share it with others and enjoy
hearing back from them telling me the successes they've had using my
solution. What I am about to share with you is stemming from the world
of art, which is my world; but it can simply be applied to any other
field with great success.
I don't want to distract those of you who are not in the field of art thinking that this is not for you, as the best and greatest canvas is life itself, and if we care for everything we do as a form of art and apply enough creativity, pride and passion to it, the great results of it become contagious and causes every observer of our work notice the beauty of what we create. See how you can apply this simple technique to ignite a new passion in anything you have lost your initial passion for.
As we take a look at someone who keeps doing the same thing over and over again - no matter what his activity is - we find someone who is unhappy about what he is creating. This is a condition that occurs when one's attention and concentration becomes fixated on one task and he ultimately finds himself faced with "debris." This is when "creating" or "producing," or "working" becomes an automatically a counter-creativity resulting in an accumulation of unwanted "particles." Can you think of an activity you had started with lots of interest and then gave it all up and then faced with its left over particles?
When someone is in an automatic mode of production, "debris" accumulate and he doesn't know what to do about them, and since he is still in a creative mode, he distracts himself from it by trying his hands in something else that doesn't appear to have - in his estimation - a whole lot of "debris" - a totally new thing. In the field of arts for example, one can easily abandon sculpture and adventure into painting and soon departs from this "debris-strewn" area as well.
When obsessive or prolonged creation continue to flow in one direction, the resulting product becomes deteriorated. The creation in this direction comes about because one never exercises his ability of being there before his own work comfortably and perceive his own creation objectively and be his own observer or audience as part of his creative or production process. Confronting his own work is seldom an essential part of his computation, and he does not take responsibility for his own creation. When he creates without closely observing or confronting, after a while he says, "Well, I just can't do this anymore." What does this mean? It means essentially that he can't take responsibility for his creation anymore, he doesn't care to know about it, which means loss of control of it all. Hence, we classify it with cliche' terms such as "burn out."
The panacea for the problems in creativity is the artist's, creator's or the producer's own ability to confront his own work - naturally and with objectivity. Any great artist who has gone into a decline or non-productivity, he has done so due to the absence of these two very pivotal factors: Confronting his own creation and taking full responsibility for having been the responsible source of cause for the effects he has produced in his work. - and no more.
He out-creates himself past the point where he should stop and stand back to observe, confront and examine his work. He continues to create beyond the point where he should realize that his effect has reached a sufficient level. Any time that confronting and observing objectively is turned automatic in creativity, another words, it is essentially incorporated into the creative process, its results become non-optimum. For fresh and joyful creation to occur, one needs to learn how to unfix his attention and concentration from the monotony of creating over and over again in one direction and diversify it by engaging in other creative activities simultaneously to revitalize himself and his imagination to ensure his mental and physical vigor for his next round of creative work and process.
An excellent maxim for any artist to follow is to learn how to create his main work intermittently with a few other related fields of his own interest. One cannot create optimally in any field without his personal and intimate experiences in a variety of other related endeavors; and this is especially essential to the life of an artist. And I have news for those of you who say, "But I am not an artist!" Yes you are! If you look up art in any good dictionary, you will find many great definitions such as: Human ability to make things, skill, craftsmanship, any specific skill or its application, creative work, products of creative work, paintings and sculpture, any craft, trade or profession, etc. But this also means doing all the above as "artfully" and as "professionally" as possible.
Taking a breather from time to time and engaging in multiples of creativity to complement your work is what makes each creation a fresh new joy. Painting for instance, is a creative process where big, solid, massive things in nature are translated into the nebulous realm of imagination and through the thinness of thought, expressed on canvas. But its quality and effective expressions results not from the ability to mix colors and skillfully apply them to the canvas. It pours out from an imagination enriched with many other facets of knowledge in humanities and skills that enables the artist to draw from a pool or resources stored in his imagination. Thus, painting from memory and inspiration, rather than imitating the environment.
Art is also a communication medium; thus, it follows the same laws of communication. Too much originality in art, beyond the boundaries of general agreements, blocks the flow of communication to the viewer and throws the audience into unfamiliarity and disagreement. Communication contains duplication of what is being originated or forwarded, whether it is sonic, textual or visual; and originality is the foe of duplication. How many pieces of art have you looked at that made you wonder as to what is it?
Problems or lack of understanding in arts occur when techniques exceeds the general accepted level of workability for the purpose of transmitting the message. The quality of communication in a work of art is far more superior to the technical expertise by which it is created. Thus, perfection of technique should never occur at the expense of the message it is communicating.
When we are standing before a work of art that invites our attention, the instantaneous feeling of joy we feel as a reaction to the pleasure we sense, and the various interpretations that we engage in, by talking about it and completing it as our own work of art, are the signs of finding ourselves in the presence of a successful work of art.
Last but not least, can you stand before what you are producing and be your very own objective audience, observer and critic and truly feel the pleasure of your own creation? Can you accept full responsibility for what you produce or do you lay the blame at someone else's court for being the cause of what your work lacks, which makes you feel not so hot about what you are producing? If you were someone else who launched a very passionate project that required the employment of a few talented and productive people to help you run it, would you hire yourself? If your answer is yes, you are in excellent shape, if not, then take a good look with a good sense of introspection and examine to see how you can add some zest to your work, to your life and thus permeate that zest to your environment. It will be contagious!
Copyright 2009, Iran Lawrence. All rights reserve worldwide.
I don't want to distract those of you who are not in the field of art thinking that this is not for you, as the best and greatest canvas is life itself, and if we care for everything we do as a form of art and apply enough creativity, pride and passion to it, the great results of it become contagious and causes every observer of our work notice the beauty of what we create. See how you can apply this simple technique to ignite a new passion in anything you have lost your initial passion for.
As we take a look at someone who keeps doing the same thing over and over again - no matter what his activity is - we find someone who is unhappy about what he is creating. This is a condition that occurs when one's attention and concentration becomes fixated on one task and he ultimately finds himself faced with "debris." This is when "creating" or "producing," or "working" becomes an automatically a counter-creativity resulting in an accumulation of unwanted "particles." Can you think of an activity you had started with lots of interest and then gave it all up and then faced with its left over particles?
When someone is in an automatic mode of production, "debris" accumulate and he doesn't know what to do about them, and since he is still in a creative mode, he distracts himself from it by trying his hands in something else that doesn't appear to have - in his estimation - a whole lot of "debris" - a totally new thing. In the field of arts for example, one can easily abandon sculpture and adventure into painting and soon departs from this "debris-strewn" area as well.
When obsessive or prolonged creation continue to flow in one direction, the resulting product becomes deteriorated. The creation in this direction comes about because one never exercises his ability of being there before his own work comfortably and perceive his own creation objectively and be his own observer or audience as part of his creative or production process. Confronting his own work is seldom an essential part of his computation, and he does not take responsibility for his own creation. When he creates without closely observing or confronting, after a while he says, "Well, I just can't do this anymore." What does this mean? It means essentially that he can't take responsibility for his creation anymore, he doesn't care to know about it, which means loss of control of it all. Hence, we classify it with cliche' terms such as "burn out."
The panacea for the problems in creativity is the artist's, creator's or the producer's own ability to confront his own work - naturally and with objectivity. Any great artist who has gone into a decline or non-productivity, he has done so due to the absence of these two very pivotal factors: Confronting his own creation and taking full responsibility for having been the responsible source of cause for the effects he has produced in his work. - and no more.
He out-creates himself past the point where he should stop and stand back to observe, confront and examine his work. He continues to create beyond the point where he should realize that his effect has reached a sufficient level. Any time that confronting and observing objectively is turned automatic in creativity, another words, it is essentially incorporated into the creative process, its results become non-optimum. For fresh and joyful creation to occur, one needs to learn how to unfix his attention and concentration from the monotony of creating over and over again in one direction and diversify it by engaging in other creative activities simultaneously to revitalize himself and his imagination to ensure his mental and physical vigor for his next round of creative work and process.
An excellent maxim for any artist to follow is to learn how to create his main work intermittently with a few other related fields of his own interest. One cannot create optimally in any field without his personal and intimate experiences in a variety of other related endeavors; and this is especially essential to the life of an artist. And I have news for those of you who say, "But I am not an artist!" Yes you are! If you look up art in any good dictionary, you will find many great definitions such as: Human ability to make things, skill, craftsmanship, any specific skill or its application, creative work, products of creative work, paintings and sculpture, any craft, trade or profession, etc. But this also means doing all the above as "artfully" and as "professionally" as possible.
Taking a breather from time to time and engaging in multiples of creativity to complement your work is what makes each creation a fresh new joy. Painting for instance, is a creative process where big, solid, massive things in nature are translated into the nebulous realm of imagination and through the thinness of thought, expressed on canvas. But its quality and effective expressions results not from the ability to mix colors and skillfully apply them to the canvas. It pours out from an imagination enriched with many other facets of knowledge in humanities and skills that enables the artist to draw from a pool or resources stored in his imagination. Thus, painting from memory and inspiration, rather than imitating the environment.
Art is also a communication medium; thus, it follows the same laws of communication. Too much originality in art, beyond the boundaries of general agreements, blocks the flow of communication to the viewer and throws the audience into unfamiliarity and disagreement. Communication contains duplication of what is being originated or forwarded, whether it is sonic, textual or visual; and originality is the foe of duplication. How many pieces of art have you looked at that made you wonder as to what is it?
Problems or lack of understanding in arts occur when techniques exceeds the general accepted level of workability for the purpose of transmitting the message. The quality of communication in a work of art is far more superior to the technical expertise by which it is created. Thus, perfection of technique should never occur at the expense of the message it is communicating.
When we are standing before a work of art that invites our attention, the instantaneous feeling of joy we feel as a reaction to the pleasure we sense, and the various interpretations that we engage in, by talking about it and completing it as our own work of art, are the signs of finding ourselves in the presence of a successful work of art.
Last but not least, can you stand before what you are producing and be your very own objective audience, observer and critic and truly feel the pleasure of your own creation? Can you accept full responsibility for what you produce or do you lay the blame at someone else's court for being the cause of what your work lacks, which makes you feel not so hot about what you are producing? If you were someone else who launched a very passionate project that required the employment of a few talented and productive people to help you run it, would you hire yourself? If your answer is yes, you are in excellent shape, if not, then take a good look with a good sense of introspection and examine to see how you can add some zest to your work, to your life and thus permeate that zest to your environment. It will be contagious!
Copyright 2009, Iran Lawrence. All rights reserve worldwide.
Iran Lawrence, is a recipient of the University of Delaware
Presidential Citation for outstanding achievement for exhibiting a great
promise in her professional and public service activities. She thrives
on a cornucopia of skills and know-how acquired since childhood from
many masters around the world.
She was already an accomplished artist when she entered the University of Delaware, College of Business and Economics and graduated with a B.S. degree in Economics in 1979. She later earned a M. S. degree in Interior Design from Drexel University, Nesbett College of Design Arts followed by an M.F.A scholarship to Temple University, Tyler School of Art.
Her evocative abstract paintings convey an illusive interplay of glowing color-fields emanating warmth, beauty and calm. As a widely published and exhibited multi-disciplined artist, her life embodies a cosmopolitan flair deeply rooted within the wealth of her Persian heritage and further refined through the spirit and the genius of the West. To view Lawrence's portfolio and to commission site specific corporate or residential abs.
Article Source:
https://EzineArticles.com/expert/Iran_Lawrence/74071She was already an accomplished artist when she entered the University of Delaware, College of Business and Economics and graduated with a B.S. degree in Economics in 1979. She later earned a M. S. degree in Interior Design from Drexel University, Nesbett College of Design Arts followed by an M.F.A scholarship to Temple University, Tyler School of Art.
Her evocative abstract paintings convey an illusive interplay of glowing color-fields emanating warmth, beauty and calm. As a widely published and exhibited multi-disciplined artist, her life embodies a cosmopolitan flair deeply rooted within the wealth of her Persian heritage and further refined through the spirit and the genius of the West. To view Lawrence's portfolio and to commission site specific corporate or residential abs.
Article Source: http://EzineArticles.com/2081226
I
am an artist and have a natural tendency to help people when I can with
real life solutions. And when I discover a particular solution can be
used widely in solving a problem I try to share it with others and enjoy
hearing back from them telling me the successes they've had using my
solution. What I am about to share with you is stemming from the world
of art, which is my world; but it can simply be applied to any other
field with great success.
I don't want to distract those of you who are not in the field of art thinking that this is not for you, as the best and greatest canvas is life itself, and if we care for everything we do as a form of art and apply enough creativity, pride and passion to it, the great results of it become contagious and causes every observer of our work notice the beauty of what we create. See how you can apply this simple technique to ignite a new passion in anything you have lost your initial passion for.
As we take a look at someone who keeps doing the same thing over and over again - no matter what his activity is - we find someone who is unhappy about what he is creating. This is a condition that occurs when one's attention and concentration becomes fixated on one task and he ultimately finds himself faced with "debris." This is when "creating" or "producing," or "working" becomes an automatically a counter-creativity resulting in an accumulation of unwanted "particles." Can you think of an activity you had started with lots of interest and then gave it all up and then faced with its left over particles?
When someone is in an automatic mode of production, "debris" accumulate and he doesn't know what to do about them, and since he is still in a creative mode, he distracts himself from it by trying his hands in something else that doesn't appear to have - in his estimation - a whole lot of "debris" - a totally new thing. In the field of arts for example, one can easily abandon sculpture and adventure into painting and soon departs from this "debris-strewn" area as well.
When obsessive or prolonged creation continue to flow in one direction, the resulting product becomes deteriorated. The creation in this direction comes about because one never exercises his ability of being there before his own work comfortably and perceive his own creation objectively and be his own observer or audience as part of his creative or production process. Confronting his own work is seldom an essential part of his computation, and he does not take responsibility for his own creation. When he creates without closely observing or confronting, after a while he says, "Well, I just can't do this anymore." What does this mean? It means essentially that he can't take responsibility for his creation anymore, he doesn't care to know about it, which means loss of control of it all. Hence, we classify it with cliche' terms such as "burn out."
The panacea for the problems in creativity is the artist's, creator's or the producer's own ability to confront his own work - naturally and with objectivity. Any great artist who has gone into a decline or non-productivity, he has done so due to the absence of these two very pivotal factors: Confronting his own creation and taking full responsibility for having been the responsible source of cause for the effects he has produced in his work. - and no more.
He out-creates himself past the point where he should stop and stand back to observe, confront and examine his work. He continues to create beyond the point where he should realize that his effect has reached a sufficient level. Any time that confronting and observing objectively is turned automatic in creativity, another words, it is essentially incorporated into the creative process, its results become non-optimum. For fresh and joyful creation to occur, one needs to learn how to unfix his attention and concentration from the monotony of creating over and over again in one direction and diversify it by engaging in other creative activities simultaneously to revitalize himself and his imagination to ensure his mental and physical vigor for his next round of creative work and process.
An excellent maxim for any artist to follow is to learn how to create his main work intermittently with a few other related fields of his own interest. One cannot create optimally in any field without his personal and intimate experiences in a variety of other related endeavors; and this is especially essential to the life of an artist. And I have news for those of you who say, "But I am not an artist!" Yes you are! If you look up art in any good dictionary, you will find many great definitions such as: Human ability to make things, skill, craftsmanship, any specific skill or its application, creative work, products of creative work, paintings and sculpture, any craft, trade or profession, etc. But this also means doing all the above as "artfully" and as "professionally" as possible.
Taking a breather from time to time and engaging in multiples of creativity to complement your work is what makes each creation a fresh new joy. Painting for instance, is a creative process where big, solid, massive things in nature are translated into the nebulous realm of imagination and through the thinness of thought, expressed on canvas. But its quality and effective expressions results not from the ability to mix colors and skillfully apply them to the canvas. It pours out from an imagination enriched with many other facets of knowledge in humanities and skills that enables the artist to draw from a pool or resources stored in his imagination. Thus, painting from memory and inspiration, rather than imitating the environment.
Art is also a communication medium; thus, it follows the same laws of communication. Too much originality in art, beyond the boundaries of general agreements, blocks the flow of communication to the viewer and throws the audience into unfamiliarity and disagreement. Communication contains duplication of what is being originated or forwarded, whether it is sonic, textual or visual; and originality is the foe of duplication. How many pieces of art have you looked at that made you wonder as to what is it?
Problems or lack of understanding in arts occur when techniques exceeds the general accepted level of workability for the purpose of transmitting the message. The quality of communication in a work of art is far more superior to the technical expertise by which it is created. Thus, perfection of technique should never occur at the expense of the message it is communicating.
When we are standing before a work of art that invites our attention, the instantaneous feeling of joy we feel as a reaction to the pleasure we sense, and the various interpretations that we engage in, by talking about it and completing it as our own work of art, are the signs of finding ourselves in the presence of a successful work of art.
Last but not least, can you stand before what you are producing and be your very own objective audience, observer and critic and truly feel the pleasure of your own creation? Can you accept full responsibility for what you produce or do you lay the blame at someone else's court for being the cause of what your work lacks, which makes you feel not so hot about what you are producing? If you were someone else who launched a very passionate project that required the employment of a few talented and productive people to help you run it, would you hire yourself? If your answer is yes, you are in excellent shape, if not, then take a good look with a good sense of introspection and examine to see how you can add some zest to your work, to your life and thus permeate that zest to your environment. It will be contagious!
Copyright 2009, Iran Lawrence. All rights reserve worldwide.
I don't want to distract those of you who are not in the field of art thinking that this is not for you, as the best and greatest canvas is life itself, and if we care for everything we do as a form of art and apply enough creativity, pride and passion to it, the great results of it become contagious and causes every observer of our work notice the beauty of what we create. See how you can apply this simple technique to ignite a new passion in anything you have lost your initial passion for.
As we take a look at someone who keeps doing the same thing over and over again - no matter what his activity is - we find someone who is unhappy about what he is creating. This is a condition that occurs when one's attention and concentration becomes fixated on one task and he ultimately finds himself faced with "debris." This is when "creating" or "producing," or "working" becomes an automatically a counter-creativity resulting in an accumulation of unwanted "particles." Can you think of an activity you had started with lots of interest and then gave it all up and then faced with its left over particles?
When someone is in an automatic mode of production, "debris" accumulate and he doesn't know what to do about them, and since he is still in a creative mode, he distracts himself from it by trying his hands in something else that doesn't appear to have - in his estimation - a whole lot of "debris" - a totally new thing. In the field of arts for example, one can easily abandon sculpture and adventure into painting and soon departs from this "debris-strewn" area as well.
When obsessive or prolonged creation continue to flow in one direction, the resulting product becomes deteriorated. The creation in this direction comes about because one never exercises his ability of being there before his own work comfortably and perceive his own creation objectively and be his own observer or audience as part of his creative or production process. Confronting his own work is seldom an essential part of his computation, and he does not take responsibility for his own creation. When he creates without closely observing or confronting, after a while he says, "Well, I just can't do this anymore." What does this mean? It means essentially that he can't take responsibility for his creation anymore, he doesn't care to know about it, which means loss of control of it all. Hence, we classify it with cliche' terms such as "burn out."
The panacea for the problems in creativity is the artist's, creator's or the producer's own ability to confront his own work - naturally and with objectivity. Any great artist who has gone into a decline or non-productivity, he has done so due to the absence of these two very pivotal factors: Confronting his own creation and taking full responsibility for having been the responsible source of cause for the effects he has produced in his work. - and no more.
He out-creates himself past the point where he should stop and stand back to observe, confront and examine his work. He continues to create beyond the point where he should realize that his effect has reached a sufficient level. Any time that confronting and observing objectively is turned automatic in creativity, another words, it is essentially incorporated into the creative process, its results become non-optimum. For fresh and joyful creation to occur, one needs to learn how to unfix his attention and concentration from the monotony of creating over and over again in one direction and diversify it by engaging in other creative activities simultaneously to revitalize himself and his imagination to ensure his mental and physical vigor for his next round of creative work and process.
An excellent maxim for any artist to follow is to learn how to create his main work intermittently with a few other related fields of his own interest. One cannot create optimally in any field without his personal and intimate experiences in a variety of other related endeavors; and this is especially essential to the life of an artist. And I have news for those of you who say, "But I am not an artist!" Yes you are! If you look up art in any good dictionary, you will find many great definitions such as: Human ability to make things, skill, craftsmanship, any specific skill or its application, creative work, products of creative work, paintings and sculpture, any craft, trade or profession, etc. But this also means doing all the above as "artfully" and as "professionally" as possible.
Taking a breather from time to time and engaging in multiples of creativity to complement your work is what makes each creation a fresh new joy. Painting for instance, is a creative process where big, solid, massive things in nature are translated into the nebulous realm of imagination and through the thinness of thought, expressed on canvas. But its quality and effective expressions results not from the ability to mix colors and skillfully apply them to the canvas. It pours out from an imagination enriched with many other facets of knowledge in humanities and skills that enables the artist to draw from a pool or resources stored in his imagination. Thus, painting from memory and inspiration, rather than imitating the environment.
Art is also a communication medium; thus, it follows the same laws of communication. Too much originality in art, beyond the boundaries of general agreements, blocks the flow of communication to the viewer and throws the audience into unfamiliarity and disagreement. Communication contains duplication of what is being originated or forwarded, whether it is sonic, textual or visual; and originality is the foe of duplication. How many pieces of art have you looked at that made you wonder as to what is it?
Problems or lack of understanding in arts occur when techniques exceeds the general accepted level of workability for the purpose of transmitting the message. The quality of communication in a work of art is far more superior to the technical expertise by which it is created. Thus, perfection of technique should never occur at the expense of the message it is communicating.
When we are standing before a work of art that invites our attention, the instantaneous feeling of joy we feel as a reaction to the pleasure we sense, and the various interpretations that we engage in, by talking about it and completing it as our own work of art, are the signs of finding ourselves in the presence of a successful work of art.
Last but not least, can you stand before what you are producing and be your very own objective audience, observer and critic and truly feel the pleasure of your own creation? Can you accept full responsibility for what you produce or do you lay the blame at someone else's court for being the cause of what your work lacks, which makes you feel not so hot about what you are producing? If you were someone else who launched a very passionate project that required the employment of a few talented and productive people to help you run it, would you hire yourself? If your answer is yes, you are in excellent shape, if not, then take a good look with a good sense of introspection and examine to see how you can add some zest to your work, to your life and thus permeate that zest to your environment. It will be contagious!
Copyright 2009, Iran Lawrence. All rights reserve worldwide.
Iran Lawrence, is a recipient of the University of Delaware
Presidential Citation for outstanding achievement for exhibiting a great
promise in her professional and public service activities. She thrives
on a cornucopia of skills and know-how acquired since childhood from
many masters around the world.
She was already an accomplished artist when she entered the University of Delaware, College of Business and Economics and graduated with a B.S. degree in Economics in 1979. She later earned a M. S. degree in Interior Design from Drexel University, Nesbett College of Design Arts followed by an M.F.A scholarship to Temple University, Tyler School of Art.
Her evocative abstract paintings convey an illusive interplay of glowing color-fields emanating warmth, beauty and calm. As a widely published and exhibited multi-disciplined artist, her life embodies a cosmopolitan flair deeply rooted within the wealth of her Persian heritage and further refined through the spirit and the genius of the West. To view Lawrence's portfolio and to commission site specific corporate or residential abs.
Article Source:
https://EzineArticles.com/expert/Iran_Lawrence/74071She was already an accomplished artist when she entered the University of Delaware, College of Business and Economics and graduated with a B.S. degree in Economics in 1979. She later earned a M. S. degree in Interior Design from Drexel University, Nesbett College of Design Arts followed by an M.F.A scholarship to Temple University, Tyler School of Art.
Her evocative abstract paintings convey an illusive interplay of glowing color-fields emanating warmth, beauty and calm. As a widely published and exhibited multi-disciplined artist, her life embodies a cosmopolitan flair deeply rooted within the wealth of her Persian heritage and further refined through the spirit and the genius of the West. To view Lawrence's portfolio and to commission site specific corporate or residential abs.
Article Source: http://EzineArticles.com/2081226
I
am an artist and have a natural tendency to help people when I can with
real life solutions. And when I discover a particular solution can be
used widely in solving a problem I try to share it with others and enjoy
hearing back from them telling me the successes they've had using my
solution. What I am about to share with you is stemming from the world
of art, which is my world; but it can simply be applied to any other
field with great success.
I don't want to distract those of you who are not in the field of art thinking that this is not for you, as the best and greatest canvas is life itself, and if we care for everything we do as a form of art and apply enough creativity, pride and passion to it, the great results of it become contagious and causes every observer of our work notice the beauty of what we create. See how you can apply this simple technique to ignite a new passion in anything you have lost your initial passion for.
As we take a look at someone who keeps doing the same thing over and over again - no matter what his activity is - we find someone who is unhappy about what he is creating. This is a condition that occurs when one's attention and concentration becomes fixated on one task and he ultimately finds himself faced with "debris." This is when "creating" or "producing," or "working" becomes an automatically a counter-creativity resulting in an accumulation of unwanted "particles." Can you think of an activity you had started with lots of interest and then gave it all up and then faced with its left over particles?
When someone is in an automatic mode of production, "debris" accumulate and he doesn't know what to do about them, and since he is still in a creative mode, he distracts himself from it by trying his hands in something else that doesn't appear to have - in his estimation - a whole lot of "debris" - a totally new thing. In the field of arts for example, one can easily abandon sculpture and adventure into painting and soon departs from this "debris-strewn" area as well.
When obsessive or prolonged creation continue to flow in one direction, the resulting product becomes deteriorated. The creation in this direction comes about because one never exercises his ability of being there before his own work comfortably and perceive his own creation objectively and be his own observer or audience as part of his creative or production process. Confronting his own work is seldom an essential part of his computation, and he does not take responsibility for his own creation. When he creates without closely observing or confronting, after a while he says, "Well, I just can't do this anymore." What does this mean? It means essentially that he can't take responsibility for his creation anymore, he doesn't care to know about it, which means loss of control of it all. Hence, we classify it with cliche' terms such as "burn out."
The panacea for the problems in creativity is the artist's, creator's or the producer's own ability to confront his own work - naturally and with objectivity. Any great artist who has gone into a decline or non-productivity, he has done so due to the absence of these two very pivotal factors: Confronting his own creation and taking full responsibility for having been the responsible source of cause for the effects he has produced in his work. - and no more.
He out-creates himself past the point where he should stop and stand back to observe, confront and examine his work. He continues to create beyond the point where he should realize that his effect has reached a sufficient level. Any time that confronting and observing objectively is turned automatic in creativity, another words, it is essentially incorporated into the creative process, its results become non-optimum. For fresh and joyful creation to occur, one needs to learn how to unfix his attention and concentration from the monotony of creating over and over again in one direction and diversify it by engaging in other creative activities simultaneously to revitalize himself and his imagination to ensure his mental and physical vigor for his next round of creative work and process.
An excellent maxim for any artist to follow is to learn how to create his main work intermittently with a few other related fields of his own interest. One cannot create optimally in any field without his personal and intimate experiences in a variety of other related endeavors; and this is especially essential to the life of an artist. And I have news for those of you who say, "But I am not an artist!" Yes you are! If you look up art in any good dictionary, you will find many great definitions such as: Human ability to make things, skill, craftsmanship, any specific skill or its application, creative work, products of creative work, paintings and sculpture, any craft, trade or profession, etc. But this also means doing all the above as "artfully" and as "professionally" as possible.
Taking a breather from time to time and engaging in multiples of creativity to complement your work is what makes each creation a fresh new joy. Painting for instance, is a creative process where big, solid, massive things in nature are translated into the nebulous realm of imagination and through the thinness of thought, expressed on canvas. But its quality and effective expressions results not from the ability to mix colors and skillfully apply them to the canvas. It pours out from an imagination enriched with many other facets of knowledge in humanities and skills that enables the artist to draw from a pool or resources stored in his imagination. Thus, painting from memory and inspiration, rather than imitating the environment.
Art is also a communication medium; thus, it follows the same laws of communication. Too much originality in art, beyond the boundaries of general agreements, blocks the flow of communication to the viewer and throws the audience into unfamiliarity and disagreement. Communication contains duplication of what is being originated or forwarded, whether it is sonic, textual or visual; and originality is the foe of duplication. How many pieces of art have you looked at that made you wonder as to what is it?
Problems or lack of understanding in arts occur when techniques exceeds the general accepted level of workability for the purpose of transmitting the message. The quality of communication in a work of art is far more superior to the technical expertise by which it is created. Thus, perfection of technique should never occur at the expense of the message it is communicating.
When we are standing before a work of art that invites our attention, the instantaneous feeling of joy we feel as a reaction to the pleasure we sense, and the various interpretations that we engage in, by talking about it and completing it as our own work of art, are the signs of finding ourselves in the presence of a successful work of art.
Last but not least, can you stand before what you are producing and be your very own objective audience, observer and critic and truly feel the pleasure of your own creation? Can you accept full responsibility for what you produce or do you lay the blame at someone else's court for being the cause of what your work lacks, which makes you feel not so hot about what you are producing? If you were someone else who launched a very passionate project that required the employment of a few talented and productive people to help you run it, would you hire yourself? If your answer is yes, you are in excellent shape, if not, then take a good look with a good sense of introspection and examine to see how you can add some zest to your work, to your life and thus permeate that zest to your environment. It will be contagious!
Copyright 2009, Iran Lawrence. All rights reserve worldwide.
I don't want to distract those of you who are not in the field of art thinking that this is not for you, as the best and greatest canvas is life itself, and if we care for everything we do as a form of art and apply enough creativity, pride and passion to it, the great results of it become contagious and causes every observer of our work notice the beauty of what we create. See how you can apply this simple technique to ignite a new passion in anything you have lost your initial passion for.
As we take a look at someone who keeps doing the same thing over and over again - no matter what his activity is - we find someone who is unhappy about what he is creating. This is a condition that occurs when one's attention and concentration becomes fixated on one task and he ultimately finds himself faced with "debris." This is when "creating" or "producing," or "working" becomes an automatically a counter-creativity resulting in an accumulation of unwanted "particles." Can you think of an activity you had started with lots of interest and then gave it all up and then faced with its left over particles?
When someone is in an automatic mode of production, "debris" accumulate and he doesn't know what to do about them, and since he is still in a creative mode, he distracts himself from it by trying his hands in something else that doesn't appear to have - in his estimation - a whole lot of "debris" - a totally new thing. In the field of arts for example, one can easily abandon sculpture and adventure into painting and soon departs from this "debris-strewn" area as well.
When obsessive or prolonged creation continue to flow in one direction, the resulting product becomes deteriorated. The creation in this direction comes about because one never exercises his ability of being there before his own work comfortably and perceive his own creation objectively and be his own observer or audience as part of his creative or production process. Confronting his own work is seldom an essential part of his computation, and he does not take responsibility for his own creation. When he creates without closely observing or confronting, after a while he says, "Well, I just can't do this anymore." What does this mean? It means essentially that he can't take responsibility for his creation anymore, he doesn't care to know about it, which means loss of control of it all. Hence, we classify it with cliche' terms such as "burn out."
The panacea for the problems in creativity is the artist's, creator's or the producer's own ability to confront his own work - naturally and with objectivity. Any great artist who has gone into a decline or non-productivity, he has done so due to the absence of these two very pivotal factors: Confronting his own creation and taking full responsibility for having been the responsible source of cause for the effects he has produced in his work. - and no more.
He out-creates himself past the point where he should stop and stand back to observe, confront and examine his work. He continues to create beyond the point where he should realize that his effect has reached a sufficient level. Any time that confronting and observing objectively is turned automatic in creativity, another words, it is essentially incorporated into the creative process, its results become non-optimum. For fresh and joyful creation to occur, one needs to learn how to unfix his attention and concentration from the monotony of creating over and over again in one direction and diversify it by engaging in other creative activities simultaneously to revitalize himself and his imagination to ensure his mental and physical vigor for his next round of creative work and process.
An excellent maxim for any artist to follow is to learn how to create his main work intermittently with a few other related fields of his own interest. One cannot create optimally in any field without his personal and intimate experiences in a variety of other related endeavors; and this is especially essential to the life of an artist. And I have news for those of you who say, "But I am not an artist!" Yes you are! If you look up art in any good dictionary, you will find many great definitions such as: Human ability to make things, skill, craftsmanship, any specific skill or its application, creative work, products of creative work, paintings and sculpture, any craft, trade or profession, etc. But this also means doing all the above as "artfully" and as "professionally" as possible.
Taking a breather from time to time and engaging in multiples of creativity to complement your work is what makes each creation a fresh new joy. Painting for instance, is a creative process where big, solid, massive things in nature are translated into the nebulous realm of imagination and through the thinness of thought, expressed on canvas. But its quality and effective expressions results not from the ability to mix colors and skillfully apply them to the canvas. It pours out from an imagination enriched with many other facets of knowledge in humanities and skills that enables the artist to draw from a pool or resources stored in his imagination. Thus, painting from memory and inspiration, rather than imitating the environment.
Art is also a communication medium; thus, it follows the same laws of communication. Too much originality in art, beyond the boundaries of general agreements, blocks the flow of communication to the viewer and throws the audience into unfamiliarity and disagreement. Communication contains duplication of what is being originated or forwarded, whether it is sonic, textual or visual; and originality is the foe of duplication. How many pieces of art have you looked at that made you wonder as to what is it?
Problems or lack of understanding in arts occur when techniques exceeds the general accepted level of workability for the purpose of transmitting the message. The quality of communication in a work of art is far more superior to the technical expertise by which it is created. Thus, perfection of technique should never occur at the expense of the message it is communicating.
When we are standing before a work of art that invites our attention, the instantaneous feeling of joy we feel as a reaction to the pleasure we sense, and the various interpretations that we engage in, by talking about it and completing it as our own work of art, are the signs of finding ourselves in the presence of a successful work of art.
Last but not least, can you stand before what you are producing and be your very own objective audience, observer and critic and truly feel the pleasure of your own creation? Can you accept full responsibility for what you produce or do you lay the blame at someone else's court for being the cause of what your work lacks, which makes you feel not so hot about what you are producing? If you were someone else who launched a very passionate project that required the employment of a few talented and productive people to help you run it, would you hire yourself? If your answer is yes, you are in excellent shape, if not, then take a good look with a good sense of introspection and examine to see how you can add some zest to your work, to your life and thus permeate that zest to your environment. It will be contagious!
Copyright 2009, Iran Lawrence. All rights reserve worldwide.
Iran Lawrence, is a recipient of the University of Delaware
Presidential Citation for outstanding achievement for exhibiting a great
promise in her professional and public service activities. She thrives
on a cornucopia of skills and know-how acquired since childhood from
many masters around the world.
She was already an accomplished artist when she entered the University of Delaware, College of Business and Economics and graduated with a B.S. degree in Economics in 1979. She later earned a M. S. degree in Interior Design from Drexel University, Nesbett College of Design Arts followed by an M.F.A scholarship to Temple University, Tyler School of Art.
Her evocative abstract paintings convey an illusive interplay of glowing color-fields emanating warmth, beauty and calm. As a widely published and exhibited multi-disciplined artist, her life embodies a cosmopolitan flair deeply rooted within the wealth of her Persian heritage and further refined through the spirit and the genius of the West. To view Lawrence's portfolio and to commission site specific corporate or residential abs.
Article Source:
https://EzineArticles.com/expert/Iran_Lawrence/74071She was already an accomplished artist when she entered the University of Delaware, College of Business and Economics and graduated with a B.S. degree in Economics in 1979. She later earned a M. S. degree in Interior Design from Drexel University, Nesbett College of Design Arts followed by an M.F.A scholarship to Temple University, Tyler School of Art.
Her evocative abstract paintings convey an illusive interplay of glowing color-fields emanating warmth, beauty and calm. As a widely published and exhibited multi-disciplined artist, her life embodies a cosmopolitan flair deeply rooted within the wealth of her Persian heritage and further refined through the spirit and the genius of the West. To view Lawrence's portfolio and to commission site specific corporate or residential abs.
Article Source: http://EzineArticles.com/2081226
I
am an artist and have a natural tendency to help people when I can with
real life solutions. And when I discover a particular solution can be
used widely in solving a problem I try to share it with others and enjoy
hearing back from them telling me the successes they've had using my
solution. What I am about to share with you is stemming from the world
of art, which is my world; but it can simply be applied to any other
field with great success.
I don't want to distract those of you who are not in the field of art thinking that this is not for you, as the best and greatest canvas is life itself, and if we care for everything we do as a form of art and apply enough creativity, pride and passion to it, the great results of it become contagious and causes every observer of our work notice the beauty of what we create. See how you can apply this simple technique to ignite a new passion in anything you have lost your initial passion for.
As we take a look at someone who keeps doing the same thing over and over again - no matter what his activity is - we find someone who is unhappy about what he is creating. This is a condition that occurs when one's attention and concentration becomes fixated on one task and he ultimately finds himself faced with "debris." This is when "creating" or "producing," or "working" becomes an automatically a counter-creativity resulting in an accumulation of unwanted "particles." Can you think of an activity you had started with lots of interest and then gave it all up and then faced with its left over particles?
When someone is in an automatic mode of production, "debris" accumulate and he doesn't know what to do about them, and since he is still in a creative mode, he distracts himself from it by trying his hands in something else that doesn't appear to have - in his estimation - a whole lot of "debris" - a totally new thing. In the field of arts for example, one can easily abandon sculpture and adventure into painting and soon departs from this "debris-strewn" area as well.
When obsessive or prolonged creation continue to flow in one direction, the resulting product becomes deteriorated. The creation in this direction comes about because one never exercises his ability of being there before his own work comfortably and perceive his own creation objectively and be his own observer or audience as part of his creative or production process. Confronting his own work is seldom an essential part of his computation, and he does not take responsibility for his own creation. When he creates without closely observing or confronting, after a while he says, "Well, I just can't do this anymore." What does this mean? It means essentially that he can't take responsibility for his creation anymore, he doesn't care to know about it, which means loss of control of it all. Hence, we classify it with cliche' terms such as "burn out."
The panacea for the problems in creativity is the artist's, creator's or the producer's own ability to confront his own work - naturally and with objectivity. Any great artist who has gone into a decline or non-productivity, he has done so due to the absence of these two very pivotal factors: Confronting his own creation and taking full responsibility for having been the responsible source of cause for the effects he has produced in his work. - and no more.
He out-creates himself past the point where he should stop and stand back to observe, confront and examine his work. He continues to create beyond the point where he should realize that his effect has reached a sufficient level. Any time that confronting and observing objectively is turned automatic in creativity, another words, it is essentially incorporated into the creative process, its results become non-optimum. For fresh and joyful creation to occur, one needs to learn how to unfix his attention and concentration from the monotony of creating over and over again in one direction and diversify it by engaging in other creative activities simultaneously to revitalize himself and his imagination to ensure his mental and physical vigor for his next round of creative work and process.
An excellent maxim for any artist to follow is to learn how to create his main work intermittently with a few other related fields of his own interest. One cannot create optimally in any field without his personal and intimate experiences in a variety of other related endeavors; and this is especially essential to the life of an artist. And I have news for those of you who say, "But I am not an artist!" Yes you are! If you look up art in any good dictionary, you will find many great definitions such as: Human ability to make things, skill, craftsmanship, any specific skill or its application, creative work, products of creative work, paintings and sculpture, any craft, trade or profession, etc. But this also means doing all the above as "artfully" and as "professionally" as possible.
Taking a breather from time to time and engaging in multiples of creativity to complement your work is what makes each creation a fresh new joy. Painting for instance, is a creative process where big, solid, massive things in nature are translated into the nebulous realm of imagination and through the thinness of thought, expressed on canvas. But its quality and effective expressions results not from the ability to mix colors and skillfully apply them to the canvas. It pours out from an imagination enriched with many other facets of knowledge in humanities and skills that enables the artist to draw from a pool or resources stored in his imagination. Thus, painting from memory and inspiration, rather than imitating the environment.
Art is also a communication medium; thus, it follows the same laws of communication. Too much originality in art, beyond the boundaries of general agreements, blocks the flow of communication to the viewer and throws the audience into unfamiliarity and disagreement. Communication contains duplication of what is being originated or forwarded, whether it is sonic, textual or visual; and originality is the foe of duplication. How many pieces of art have you looked at that made you wonder as to what is it?
Problems or lack of understanding in arts occur when techniques exceeds the general accepted level of workability for the purpose of transmitting the message. The quality of communication in a work of art is far more superior to the technical expertise by which it is created. Thus, perfection of technique should never occur at the expense of the message it is communicating.
When we are standing before a work of art that invites our attention, the instantaneous feeling of joy we feel as a reaction to the pleasure we sense, and the various interpretations that we engage in, by talking about it and completing it as our own work of art, are the signs of finding ourselves in the presence of a successful work of art.
Last but not least, can you stand before what you are producing and be your very own objective audience, observer and critic and truly feel the pleasure of your own creation? Can you accept full responsibility for what you produce or do you lay the blame at someone else's court for being the cause of what your work lacks, which makes you feel not so hot about what you are producing? If you were someone else who launched a very passionate project that required the employment of a few talented and productive people to help you run it, would you hire yourself? If your answer is yes, you are in excellent shape, if not, then take a good look with a good sense of introspection and examine to see how you can add some zest to your work, to your life and thus permeate that zest to your environment. It will be contagious!
Copyright 2009, Iran Lawrence. All rights reserve worldwide.
I don't want to distract those of you who are not in the field of art thinking that this is not for you, as the best and greatest canvas is life itself, and if we care for everything we do as a form of art and apply enough creativity, pride and passion to it, the great results of it become contagious and causes every observer of our work notice the beauty of what we create. See how you can apply this simple technique to ignite a new passion in anything you have lost your initial passion for.
As we take a look at someone who keeps doing the same thing over and over again - no matter what his activity is - we find someone who is unhappy about what he is creating. This is a condition that occurs when one's attention and concentration becomes fixated on one task and he ultimately finds himself faced with "debris." This is when "creating" or "producing," or "working" becomes an automatically a counter-creativity resulting in an accumulation of unwanted "particles." Can you think of an activity you had started with lots of interest and then gave it all up and then faced with its left over particles?
When someone is in an automatic mode of production, "debris" accumulate and he doesn't know what to do about them, and since he is still in a creative mode, he distracts himself from it by trying his hands in something else that doesn't appear to have - in his estimation - a whole lot of "debris" - a totally new thing. In the field of arts for example, one can easily abandon sculpture and adventure into painting and soon departs from this "debris-strewn" area as well.
When obsessive or prolonged creation continue to flow in one direction, the resulting product becomes deteriorated. The creation in this direction comes about because one never exercises his ability of being there before his own work comfortably and perceive his own creation objectively and be his own observer or audience as part of his creative or production process. Confronting his own work is seldom an essential part of his computation, and he does not take responsibility for his own creation. When he creates without closely observing or confronting, after a while he says, "Well, I just can't do this anymore." What does this mean? It means essentially that he can't take responsibility for his creation anymore, he doesn't care to know about it, which means loss of control of it all. Hence, we classify it with cliche' terms such as "burn out."
The panacea for the problems in creativity is the artist's, creator's or the producer's own ability to confront his own work - naturally and with objectivity. Any great artist who has gone into a decline or non-productivity, he has done so due to the absence of these two very pivotal factors: Confronting his own creation and taking full responsibility for having been the responsible source of cause for the effects he has produced in his work. - and no more.
He out-creates himself past the point where he should stop and stand back to observe, confront and examine his work. He continues to create beyond the point where he should realize that his effect has reached a sufficient level. Any time that confronting and observing objectively is turned automatic in creativity, another words, it is essentially incorporated into the creative process, its results become non-optimum. For fresh and joyful creation to occur, one needs to learn how to unfix his attention and concentration from the monotony of creating over and over again in one direction and diversify it by engaging in other creative activities simultaneously to revitalize himself and his imagination to ensure his mental and physical vigor for his next round of creative work and process.
An excellent maxim for any artist to follow is to learn how to create his main work intermittently with a few other related fields of his own interest. One cannot create optimally in any field without his personal and intimate experiences in a variety of other related endeavors; and this is especially essential to the life of an artist. And I have news for those of you who say, "But I am not an artist!" Yes you are! If you look up art in any good dictionary, you will find many great definitions such as: Human ability to make things, skill, craftsmanship, any specific skill or its application, creative work, products of creative work, paintings and sculpture, any craft, trade or profession, etc. But this also means doing all the above as "artfully" and as "professionally" as possible.
Taking a breather from time to time and engaging in multiples of creativity to complement your work is what makes each creation a fresh new joy. Painting for instance, is a creative process where big, solid, massive things in nature are translated into the nebulous realm of imagination and through the thinness of thought, expressed on canvas. But its quality and effective expressions results not from the ability to mix colors and skillfully apply them to the canvas. It pours out from an imagination enriched with many other facets of knowledge in humanities and skills that enables the artist to draw from a pool or resources stored in his imagination. Thus, painting from memory and inspiration, rather than imitating the environment.
Art is also a communication medium; thus, it follows the same laws of communication. Too much originality in art, beyond the boundaries of general agreements, blocks the flow of communication to the viewer and throws the audience into unfamiliarity and disagreement. Communication contains duplication of what is being originated or forwarded, whether it is sonic, textual or visual; and originality is the foe of duplication. How many pieces of art have you looked at that made you wonder as to what is it?
Problems or lack of understanding in arts occur when techniques exceeds the general accepted level of workability for the purpose of transmitting the message. The quality of communication in a work of art is far more superior to the technical expertise by which it is created. Thus, perfection of technique should never occur at the expense of the message it is communicating.
When we are standing before a work of art that invites our attention, the instantaneous feeling of joy we feel as a reaction to the pleasure we sense, and the various interpretations that we engage in, by talking about it and completing it as our own work of art, are the signs of finding ourselves in the presence of a successful work of art.
Last but not least, can you stand before what you are producing and be your very own objective audience, observer and critic and truly feel the pleasure of your own creation? Can you accept full responsibility for what you produce or do you lay the blame at someone else's court for being the cause of what your work lacks, which makes you feel not so hot about what you are producing? If you were someone else who launched a very passionate project that required the employment of a few talented and productive people to help you run it, would you hire yourself? If your answer is yes, you are in excellent shape, if not, then take a good look with a good sense of introspection and examine to see how you can add some zest to your work, to your life and thus permeate that zest to your environment. It will be contagious!
Copyright 2009, Iran Lawrence. All rights reserve worldwide.
Iran Lawrence, is a recipient of the University of Delaware
Presidential Citation for outstanding achievement for exhibiting a great
promise in her professional and public service activities. She thrives
on a cornucopia of skills and know-how acquired since childhood from
many masters around the world.
She was already an accomplished artist when she entered the University of Delaware, College of Business and Economics and graduated with a B.S. degree in Economics in 1979. She later earned a M. S. degree in Interior Design from Drexel University, Nesbett College of Design Arts followed by an M.F.A scholarship to Temple University, Tyler School of Art.
Her evocative abstract paintings convey an illusive interplay of glowing color-fields emanating warmth, beauty and calm. As a widely published and exhibited multi-disciplined artist, her life embodies a cosmopolitan flair deeply rooted within the wealth of her Persian heritage and further refined through the spirit and the genius of the West. To view Lawrence's portfolio and to commission site specific corporate or residential abs.
Article Source:
https://EzineArticles.com/expert/Iran_Lawrence/74071She was already an accomplished artist when she entered the University of Delaware, College of Business and Economics and graduated with a B.S. degree in Economics in 1979. She later earned a M. S. degree in Interior Design from Drexel University, Nesbett College of Design Arts followed by an M.F.A scholarship to Temple University, Tyler School of Art.
Her evocative abstract paintings convey an illusive interplay of glowing color-fields emanating warmth, beauty and calm. As a widely published and exhibited multi-disciplined artist, her life embodies a cosmopolitan flair deeply rooted within the wealth of her Persian heritage and further refined through the spirit and the genius of the West. To view Lawrence's portfolio and to commission site specific corporate or residential abs.
Article Source: http://EzineArticles.com/2081226
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