On Creative Recovery and the True Self

I am facilitating a weekly study group of Julia Cameron’s The Artist’s Way. We’re on week five now, with the goal of discovering a renewed sense of possibility and honoring the true self.

It is my second time through this material. The first time, I was completely blocked. I had just closed my photography business after a several-year-long slide into creative depression (more on that another time). My big win from reading The Artist’s Way and completing the exercises was to create again. Afterward, I was inspired to design a framework and course to help other photographers avoid the pit I’d fallen into and, on a more personal note, I found a love for watercolor painting and other new creative outlets.

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This time around, my goal was to be able to shoot again and, a few weeks ago, I would have told you I’d been cured. Not only did I shoot a family session for a friend, but I’d also done one for a paying client. Success, right? Not so fast.

As Julia writes, “[Blocked creatives] strive to be good, to be nice, to be helpful, to be unselfish. We want to be generous, of service, to the world. But what we really want is to be left alone.” Yep.

I’d lost myself the first time by trying to be what others wanted me to be and I almost did it again the same way. Well, same same but different, as we learned to say in Thailand. Another take on an old lesson.

I have a nasty tendency to be the good girl—to say “yes” when I mean “no,” to sacrifice what I want for others’ happiness, to avoid conflict for as long as humanly possible, and to trust others’ opinions over my own. It’s what is expected from nice Southern girls.

I was so proud of myself last week when I told a friend that I didn’t want to shoot her head shots. Before, I would have done it and hated every minute. Instead I said, “Because I love you, I’ll tell you no.”

But when there was a misunderstanding between my new photography clients and me, I wanted to “yes” my way out of it. I created new packages in the hope they’d meet their needs. I compromised policies. I still couldn’t fix it.

I turned to my husband and doing so triggered even more stress. For a few days there, I just wanted to quit, to accept that “photography isn’t right for me” and that people don’t value it, a refrain I’ve often heard from photographer friends. Well, maybe so, maybe not. But there’s a bigger lesson at stake here:

Learning to heed my own creative voice and trust my own wisdom, whatever the outcome. To trust myself.

For a while now, I’ve been working on listening to my intuition but, every time I had a doubt or was confused, I ran back to my uber logical husband for validation. But the next step isn’t always logical.

When hubby suggested that I stay the course with my current business, to be “consistent” rather than follow my growing interest in another field, I listened. However, I still felt drawn to the other path and wondered how I was going to balance old and new.

There is “a sense of movement, a current of change” in that new area of my life. And I’m beginning to believe that “this current, or river, is a flow of grace moving [me] to [my] right livelihood, companions, destiny,” as Julia suggests. There is an ease to that path, a sense of rightness.

With my old friend photography, I had one moment of synchronicity followed by a lot of stress. That alone isn’t a deal breaker, but I’m going to heed it as a warning and learn what I can from the experience.

I’ve never known whether it’s better to follow the ease or if you must fight for what you want. The answer is probably a little bit of both. I think the first step on the journey is to make more space to hear my own wisdom about the next step, whether it’s following or fighting. Therefore:

I, Kate, now promise to stop relying on my husband and other people to tell me what I should do. Instead, I promise to make space to hear my own internal guide and honor my true self. 

That is the next step in my creative recovery.

As Julia says, “The true self is a disturbing character, healthy and occasionally anarchistic, who knows how to play, how to say no to others and ‘yes’ to itself.” I’m looking forward to becoming better acquainted with her.

If you, too, would like to become better acquainted with your true self, The Artist’s Way suggests that you ask yourself this question: What would I try if it weren’t too crazy? Go ahead, make a list. According to Julia, “If your list looks pretty exciting, even if crazy, then you are on the right track. These crazy notions are actually voices from our true self.”

So, what did you discover? Share an idea from your list o’ crazy in the comments.

Cheers,
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P.S. Just so you know you’re in good company, here are a few of mine:

  1. Start a social enterprise.
  2. Begin the fost-adopt process now instead of next year.
  3. Post my full photography price list online and allow the cards to fall where they may.

On Choice and Making Time » KateWatson.net - […] of the other gals in our Artist’s Way group shared last week that her husband didn’t think our practice was worth her time. He sees […]

Artist of the Week: Gordon Parks

This week’s artist is Gordon Parks. I first viewed Parks’ work at the Corcoran Gallery of Art‘s retrospective exhibition Half Past Autumn way back in 1997. Can you believe that was almost 17 years ago?

Parks (1912-2006) was a photographer, filmmaker, composer, novelist, poet, and civil rights activist. He was also the first African American to work for LIFE magazine as well as the first to write, direct, and score a Hollywood film (1969’s The Learning Tree, adapted from his autobiographical novel of the same name). Two years later, he also directed a film you might have heard of: Shaft.

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None of the above facts reveals the dichotomy Parks worked across for most of his photographic career, regularly moving between fashion portraits and documenting poverty. My personal favorite of Parks’ photographs is a portrait he took of Ingrid Bergman in 1949, during her exile from Hollywood:

Ingrid Bergman in Stromboli, Italy 1949 (c) The Gordon Parks Foundation

Ingrid Bergman in Stromboli, Italy 1949 (c) The Gordon Parks Foundation

However, his most famous photograph is probably a commentary on the painting American Gothic, which was shot for the Farm Security Administration:

American Gothic 1942 (c) The Gordon Parks Foundation

American Gothic 1942 (c) The Gordon Parks Foundation

Just these first two images give you some idea of the gamut his work ranges.

Parks started his career taking portraits of society women in Chicago while simultaneously documenting Chicago’s South Side ghetto. It was the latter that won him an FSA fellowship, during which time he shot American Gothic (above) and other images of Ella Watson and her family:

Gordon Parks FSA 1942

Farm Security Administration photo by Gordon Parks of Mrs. Ella Watson with three grandchildren and her adopted daughter. Washington, D.C. August 1942

Following disbandment of the FSA, Parks returned to fashion—as a freelance photographer for Vogue—and worked on projects for Standard Oil, for whom he shot the following:

Gordon Parks - Dinner Time at Mr. Hercules Brown

Gordon Parks – Dinner Time at Mr. Hercules Brown’s Home, Somerville, Maine, 1944

As The New Yorker reported last year, “On November 1, 1948, LIFE magazine published the photo essay “Harlem Gang Leader,” introducing their readers to the photography of Gordon Parks and to his subject, the seventeen-year-old Leonard (Red) Jackson, leader of the Harlem gang the Midtowners.” It was this assignment that led to Parks becoming the first African-American staff photographer for the nation’s largest photography publication, a position he held for 20 years.

Gordon Parks "Harlem Gang Leader"

Gordon Parks for LIFE magazine – “Harlem Gang Leader”

In true Parks form, he also shot fashion, sports, and entertainment for LIFE:

Gordon Parks Furs

Gordon Parks – Furs for LIFE magazine

Gordon Parks Nursemaid

Gordon Parks – Nursemaid’s Kerchief by Lilly Dache, New York City, New York, 1952

Gordon Parks for LIFE

Gordon Parks – LIFE magazine

For more of Parks’ work, visit The Gordon Parks Foundation website.

What do you think of Gordon Parks’ work? Is this the first time you’ve seen it? How well do you think he balanced his career between fashion photography and photojournalism?

Cheers,
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Artist of the Week: Mona Kuhn

I saw Mona Kuhn‘s work for the first time at photo l.a. in 2004 or 2005. I noticed it because it hung alongside Jock Sturges‘, who I believe was mentoring her at the time. She thanks Jock and his wife, Maia Davis, for “smoothing [her] path and patiently guiding [her] steps” in her first monograph, Photographs.

Image licensed under Creative Commons from John E Ramspott.

Image licensed under Creative Commons from John E Ramspott.

As her bio says, Mona (b. 1969) is “best known for her large-scale, dream-like photographs of nudes.” To understand what this truly means, I think you’d need to see her work in person. But take a look at an exhibition space featuring her photographs for context:

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In the early days, Mona’s work was an even mix of black and white vs color and she seemed preoccupied with capturing her subjects’ hands:

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Nikki’s Hands 1998 (c) Mona Kuhn

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Guardian 2002 (c) Mona Kuhn

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Sombra 1999 (c) Mona Kuhn

More recently, she seems to be shooting portraits almost exclusively in color and focusing on the wider landscape of each body and its environment:

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Refractions 2006 (c) Mona Kuhn

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Portrait #9 2011 and Lise 2008 (c) Mona Kuhn

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Fatale 2006 (c) Mona Kuhn

Mona Kuhn was born in São Paulo, Brazil of German descent. She studied at Ohio State University and the San Francisco Art Institute.  She now lives in Los Angeles, where she is an independent scholar at The Getty Research Institute. To learn more about Mona and her work, visit her website.

What do you think? Do you prefer Mona’s black & white or color images? Which composition style: closer cropped or those that incorporate more of the environment?

Cheers,
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Artist of the Week: Vivian Maier

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I first heard about Vivian Maier (1926-2009) a few years ago. Previously unknown, she became big news when a photo enthusiast/historian purchased $380 worth of her unprocessed film at auction and processed it, discovering a tremendous talent in 1950s & 1960s street photography. Unfortunately for us, Maier passed away before her work was brought to light but, as her contemporaries have said, she’d have hated all the attention her work is now getting.

Now the man who discovered her, John Maloof, has directed a film about his discovery and Maier herself. The film premieres in New York and Los Angeles at the end of March, with screenings around the country throughout April, May and into this summer.

Here’s a preview to give you an overview of the story:

Vivian Maier was an incredibly prolific photographer. Between the late 1940s until 1990s, she shot on average one roll of film per day according to the Photo Center’s Rafael Soldi; her body of work includes more than 100,000 images.Yet she shared her passion and results with no one. Can you imagine?

Now on to her work. Look at how close she gets to her subjects while remaining unnoticed. I think using a Rolleiflex certainly helped:

VivianMaier-1953-New-York-VM1953W00564-04-MC

Vivian Maier 1953 New York

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Vivian Maier 1954 New York

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Vivian Maier July 27, 1954 New York

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Vivian Maier, Undated

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Vivian Maier, Chicago

And sometimes she engaged directly with her subjects to make relaxed, authentic portraits. For someone who was seemingly such an introvert, I wonder how that happened:

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Vivian Maier, May 16, 1957

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Vivian Maier Grenoble, France 1959

To see more of Vivian Maier’s work, check out this interview with collector Jeffrey Goldsmith on Chase Jarvis’s blog or visit the Goldsmith Collection and Maloof Collection.

I’m looking forward to seeing the new film. How about you? Any thoughts or observations about Vivian’s work?

Cheers,
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Renaissance Women who Bust the Artist vs Scientist Myth

As a creative business owner, I often run into people who tell me, “I don’t have an artistic bone in my body.” Invariably they are very practical folks who work with numbers or facts in financial, legal, or technical careers. I always respond, “I don’t believe that for one second.” We all have the potential to be creative, artistic even, it’s simply a matter of honoring that part of yourself and cultivating it. But you don’t need to take my word on this.

Today I’m going to introduce you to some amazing women who blow the idea of creative VS practical or technical VS artistic out of the water! They are the Renaissance women of my art class.

I am continually amazed by these women. By day, they work in medicine, science, and engineering, and every Tuesday night they come together to honor their creative sides in our independent study watercolor class. They are exuberant, passionate, fun-loving ladies, none of whom is a professional artist, but their artwork is wonderful. They’re amazing, I tell you. Simply amazing. And totally inspiring.

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Margaret Inokuma, whose begonia is featured above, works as a staff scientist in the biotech industry. As you can see, she is also an accomplished painter who recently sold a painting at a local art show.

Passion Flower, (c) Margaret Inokuma

Passion Flower (c) Margaret Inokuma

Virginia Weiss is a radiologist. Yeah, that’s a doctor (MD) of radiology. She has been engaged in the arts since childhood, and this beautiful pink hibiscus is the first painting I saw her complete:

Pink hibiscus (c) Virginia Weiss

Pink hibiscus (c) Virginia Weiss

Virginia seems to really like hibiscuses, but who can blame her? Aren’t they lovely?!

Red hibiscus (c) Virginia Weiss

Red hibiscus (c) Virginia Weiss

Barbara Walton is a microbiologist by day and just plain hilarious by night. You can always count on her for leading a round of the chuckles in class. My favorite of her paintings is a tiny orange rose, but I think you’ll enjoy these too:

Echeverria (c) Barbara Walton

Echeverria (c) Barbara Walton

Peony (c) Barbara Walton

Peony (c) Barbara Walton

These are just three of many amazing women in my art class. There are several others that I could have mentioned. And lest you think otherwise, we do paint more than flowers. It’s just that our instructor, the wonderful Guy Magallanes, paints a lot of floral and nature scenes that inspire us.

So, there you have it. Who says you can’t be analytical AND creative, technical AND artistic, science-minded AND an artist? I think that myth has been busted today.

Cheers,
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Update, 14 March 2014: Margaret gave me permission to post one of her more recent paintings, a great example of a non-botanical project:

Woody (c) Margaret Inokuma

Woody (c) Margaret Inokuma