She lays out four types of constraints starting with the domain (or media) we choose from an intense interest or because we get a lot of praise for our early explorations. Two other constraints are imposed by tasks themselves with their traditions (e.g. use paint colors available) and by the goals that we set (e.g. she cites Monet’s goal to show how light breaks up).

Of more immediate use to every working artist, I think, are her thoughts on variability levels as a constraint. She believes that artists in general have high set points for variety and cites research supporting that the level is based on experiences early in their artistic lives. Going beyond your variety comfort level  fosters anxiety (e.g. paint the same tree 100 different ways) while too little variety breeds boredom (e.g. paint the same tree the same way 100 times).

In each artist’s repertoire the preferred levels of novelty or sameness may themselves vary for different aspects of the work – colors, tools, format. I may be open to adding a whole new range of pastel tints to my palette but fiercely cling to my two favorite brushes. Or scissors. Or whatever. You can watch your own anxiety and boredom meters as you approach new and routine parts of art-making. See if you can spot the upper and lower limits of your comfort zone for variety and change.
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III. Friends in Print: When you feel like reading
Grierson, Bruce. U-Turn: What if you Woke Up One Morning and Realized You Were Living the Wrong Life. 2007.  
Grierson delivers well-told stories of folks who faced situations of change often spurred by unexpected limitations, either internal or external. He proposes the U-turn as a two stage process. First, an unexpected event challenges us and makes us vulnerable to change, often by placing new constraints on our normal behavior. Then, once we are open to new alternatives, one of them gets accepted with any necessary upheavals of the heart and mind.

In exploring the sudden shifts of understanding in U-turns, Grierson includes a special tidbit for artists. Research on the “Aha” moment, the “cognitive snap” where new perceptions appear suddenly shows that spikes of fast brain waves in the right temporal lobe reliably precede the “Aha”. He concludes that “Within the folds of the right hemisphere . . . is where the muse lives, where art comes from.”*

He is worthwhile reading for those entertained by the mysteries of human change and a must read if you, in fact, “woke up one morning and realized you were living the wrong life.”
*p. 176
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IV. Creative Links
http://craftemergency.org/  
Craft Emergency Relief Fund is the place to go when life hands you constraints that are just too much and you could use some support to keep your working artist rhythms going. In addition to relief and recovery help, CERF is a good source for preparedness information, the nuts and bolts of insurance, and health and safety guidelines.

V. E-mail changes. To change your e-mail address, subscribe, or unsubscribe please e-mail connect@dianereardon.com. If you use a spam filter, please add this e-mail address to your list of approved senders. This material is included on the breakTHROUGH Creativity Coaching (website www.dianereardon.com) All material is copyrighted ©, 28February2009, Diane Reardon. All rights reserved. Visit the website for back issues and details on scheduling a complimentary one-hour coaching session.
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