Kleon opens his last chapter with “creativity has seasons.” Just as one can see the seasons of life with a tree, our lives also go through seasons. He suggests to become aware of the season one is experiencing as it is not the same for others, nor is one’s season recognizable by others. In other words, knowing where one is on their path of life, giving attention to how these influence one’s direction. Every day is a seed for new potential. The author shares to do the best to keep going...
For me, why I like this book is Kleon’s reminder of keeping life simple as it’s a method for reducing stress in one’s life. He offers these 10 simple things to remember about one’s creative path. Every day is a repeat, some days one gets to contribute some direction and others maybe not. Adjusting one’s attitude to be okay with what ever shows up contributes to one’s peace of mind. Taking action of creating, the doing of playing no matter whether one determines the output good or bad, contributes to one’s growth. There will be those in the world who in making their art believe they are the gift in the world. Kleon calls these art monsters. No matter when they show up in one’s life, know they are the teacher for some to return attention to the practice of art for life, and not the other way around. And while we might become distracted by the multitudes of news, politics, or just life, to keep doing our work, what every this may be. I encourage you to buy a copy of Keep Going for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book.
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Corporations and politicians want people to be distracted with their phones & tv as they can sell their version of the world. Kleon suggest that one keep attuned to their world via nature - take walks to work through ideas with full senses, “to find possibility in your life when there doesn’t seem to be any left.” Explore the world, talk to people, take a notebook, capture images with one’s pen or camera. This, the author believes, is the job of the artist - to become fully aware of their world to ward of the spiritual numbing.
I encourage you to buy a copy of Keep Going for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book. 
Kleon offers in this chapter some suggestions to keep one’s creative mind alert. While one’s studio may be messy and attract all sorts of clutter, it’s best as he suggests to do a bit of “tidying up.” When things are out of their place, one may not be able to find what they need to use, and delay any art making. He is not equating order with efficiency. He’s order as a place of readiness, as there is a balance between chaos and order. If one finds themselves procrastinating about doing any artwork, he suggests a quick tidy of one’s studio. And in doing so, opens one’s mind for exploring the materials one might have to use. Tidying is not about having perfect order, but a form of play.
I encourage you to buy a copy of Keep Going for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book. 
We can change our minds about what we believe. Yet sometimes our culture promotes one to stick to old beliefs without questioning them. “uncertainty is the very thing that art thrives on.” It is our natural state of being to not know, and it is through exploration do we make decisions. Often we avoid these as we have a held belief that others will find us as weak, or we have a belief that changing our minds is a form of defeat. As one moves forward through uncertainty, clarity of direction presents itself only through navigating through bad ideas. Giving one’s self time to think, to allow incubation for an idea to flourish into possibility, may be assisted by interacting in a community of like-minded individuals. Other methods Kleon suggests are reviewing the past ideas especially an opposite one everyone’s forgotten, or reading old books to find new ideas.
I encourage you to buy a copy of Keep Going for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book. 
Short chapter on Slay the Art Monster. Kleon suggests that some people who make art, while they might find what they need from making art, art is not about the artist. He begins the chapter with a quote from Andy Rooney’s quip remark about Kurt Corbain’s suicide, that “no one’s art was better than the person who created it.” Kleon reminds the reader there are creepy people who make art. There are worse people who make art. And art monsters live within all of us. He brings attention back to a focus on what great artists assist with the person who witness their art, in making people’s lives better. I encourage you to buy a copy of Keep Going for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book. 
The author titled this chapter, the Ordinary + the extra attention = extraordinary. He shares a story about Sister Mary Corita Kent taking the ordinary and making it extraordinary. For example, the G from the General Mills logo, became the G for Goodness, or God. She would take ordinary logos and transform them into religious memes as great artist are able to find the “magic in the mundane.” For some artists, they believe they need to find the extraordinary. Kleon suggests taking the ordinary adding more attention to find the extraordinary much in the same way Kent did with her artwork. Slowing down one’s life to pay attention to the ordinary, would be one way to make these creative discoveries. Drawing everything one sees, paying attention to the details, connects one with the moment. Taking the time, daily, to be creative, whether it is drawing or other forms of creative work, helps reduce stress in one’s life. He offers the reader to “pay attention to what you pay attention to,” to widen one’s perspective to those things they find valuable. Setting up designated times to do reflective work, reviewing what you’ve paid attention to, gives insight to one’s life. He states we have everything we need…we need to pay attention to what we do have.
I encourage you to buy a copy of Keep Going for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book. 
Kleon calls attention to how our culture sees any of one’s creating as money making. While a friend might intend their comment about the gift one made as a compliment suggesting the artist could sell it, not every creation needs to find a path to be sold. He cautions the reader about these changes in our social structure of turning a hobby into an additional job. The task of creating becomes used as another form of praise heaped on to people. The message becomes - free time (hobbies) must be used to gain additional income. He suggests to find one’s passion, and not monetize it, as this is what sustains one's spiritual nurturance. Creating is not to be used to measure one’s worthiness.
I encourage you to buy a copy of Keep Going for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book. this 
Kleon begins chapter 3 with a focus to create requires action; the doing takes one farther along in the exploration. Creating is play and he encourages his reader to play daily. He strongly suggests to forget the “nouns, and do the verbs.” As any child learns about their world through play, their focus is most often detached from the results. Their energy is spent in the doing of their play work, learning about their world of what works and what does not. He quotes Kurt Vonnegut about the purpose of art is to practice “an art, no matter how well or badly, is a way to make your soul grow.” And just as a child might engage more with play when new toys emerge, if you need to, find something new to explore with. If it feels like work, stop.
I encourage you to buy a copy of Keep Going for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book. 
In this chapter, Kleon reminds his reader that creativity is about connection, especially with oneself before others. To find this connection, he suggests a possible "disconnect from the world” first before a connection to self. His concentration for this chapter is building within one’s life a space to find the joy of life. Becoming aware of the influences of one’s day - that is to turn off news, making "airplane mode” more intentional. He suggests reviewing what one pays attention to and not allowing the day to be interrupted by the trivial. Be intentional about protecting one's time, learning to say no to the interruptions or the invasions to one’s day. Often one is concerned they may miss out on opportunities. Yet it is this opportunity, the present moment, to say yes to one’s sanity.
I encourage you to buy a copy of Keep Going for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book. 
Austin Kleon’s 2019 book “Keep Going,” is a quick read. Ten short chapters keeps one focused on what the author considers the "10 ways to stay creative in good times and bad.” His first chapter is a reminder to take one day at a time. He uses an analogy to the movie “Ground Hog Day,” where the character repeats the same day over and over. Kleon suggests for artists to do the same. Make art daily as every day there is something waiting to be created. While one does not have much control over what their day may bring, what control they do have is what they spend it on. Keep doing the art work. Kleon urges the reader to establish a daily routine. Routines defend one from chaos, as it sets a schedule of what to do next, especially when there is a limited amount of time available. And there is no perfect routine. To establish a routine, the author suggests to review daily habits. Determine the free time, the time wasters, as well as be aware of the rituals that may influence one’s mood. While one might equate having a routine to being imprisoned, he suggests to view routines as a method to protect one from life’s ups and downs. Routines helps one “take advantage of your limited time, energy and talent.” Kleon encourages the reader to review their routines and when necessary…modify.
I encourage you to buy a copy of Keep Going for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book. 
Art is a Spiritual Path is a book about the celebration of artwork, the honoring of the maker/creator, as well as the image. What I appreciate about this book is Allen’s call for attention of the witnessing of one’s work, without judgment, holding compassion for the self, as well as the other. I also appreciate her use of dialog, allowing the image coming forth to speak, giving it voice changes the image to a relationship, rather than just a task one is completing. Also appreciate awareness to building a safe community in which to nurture one’s growth among those who are willing to not offer help.
I encourage you to buy a copy of Art is a Spiritual Path for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book. 
Allen focuses her last chapter of Art is a Spiritual Path on building an image community. As a founder of a community studio where she offers the members a safe place to explore, she began to understand the impact in which an image community has on discovering meaning. One of our difficulties with society is our inability to slow down, observe, listen to others by giving and receiving. Allen saw the importance of the creative process in its ability to do this with her studio participates. She also brings attention to the change that takes place when payment for artwork is exchanged. Allen shares her experience that in most cases when payment is made, the relationship becomes blunted as there is no longer a fiduciary obligation. She encourages to build commercial free communities to develop the relationship, as "we cannot purchase meaning or a sense of belonging.” As art becomes a way of knowing one’s world, Allen encourages one to find whole living.
I encourage you to buy a copy of Art is a Spiritual Path for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book. 
The skill Allen focuses on at the beginning of Chapter 8 is noticing. Being aware of one’s mind already knows, and using solution toward keeping integrity with self. In other words, not responding with using a prescribed solution that does not meet with one’s values. This authentic means comes from within as well as outward. She suggests to practice patiences with taking any action that might have been provoked with anger or blame. The author broadens this to how this also shows within our culture. The practice of noticing not only in one’s studio, but also in one’s community and contributing to being authentic with mutual participation. One approach to build stronger communities is to review how one can offer service to a community with a broader focus of contributing to the well being of others, not only through art but also of service. Allen shares the story of Barbara and her work of Art for Peace, creating groups motivated in taking action through inquiry, engagement and celebration. Not always able to complete her goals as an art therapist within a secure adolescent treatment setting, she was able to contribute to a political awareness of the trauma her patients may have endured. Through the use of images, she demonstrated how “everyone is affected by the world’s pain."
I encourage you to buy a copy of Art is a Spiritual Path for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book. 
One can celebrate the creation of art with using recycle materials, or materials in the raw. These are what some call trash. Rather than judging these materials, we can learn from them. One can also use old memories or stories to explore with curiosity how to see the abundance within one’s world. A spiritual path is built upon developing a community, letting go of the urge to instruct or help, to be open to one may learn from experiencing or being witness to another’s work or creative process, dropping any judgment about the process. Allen offers in her studio a safe community where the participates agree to the intention of doing no harm to another, and participating by listening compassionately. Witnessing also develops the skill of dropping the need to find a solution. In other words, being in the moment without judgment of the outcome. Allen asks the reader to imagine what one’s world would be like if we created a world without judgments, supporting others through the act of compassionate listening without offering a solution. She support this ideal through the use of a story of the woman in Purdah. And reminds the reader how creations come into being through the use of imagination only through one’s exposure to information for an image. Cultural information also adds influence, as well as one’s attitude. Often parents offer their children cultural influences they may have had missed opportunities to explore. Some view art, or the act of creating, as essential in ones’ development. Yet for some see art or the act of creating as a waste of time or resources. And in some cultures, art or the act of creating politically, those seeking to oppose their government. A more leftist view. And for some governments, art or creating seemed unnecessary or a luxury especially if there was a war. In today’s world, art provides a form of stress relief. A way to process unresolved issues through exploring different methods to express one’s learning and discovering personal meaning. One’s artwork can provide spiritual guidance. The author suggests be willing to stay in the discomfort of not knowing. And only work on one's own spiritual path.
I encourage you to buy a copy of Art is a Spiritual Path for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book.  One may have inherited a religious or spiritual tradition or as adults intentionally seek a spiritual guidance. “Image making is a valuable way to explore and integrate the received truths of any system …” Allen offers as she further explores in Chapter 6 ways to renew old traditions. The author again shares several stories of witnessing images through the use of dialog. In this process of no judgment one may be free to converse with images to discover and expand further meanings of their spiritual practice.
I encourage you to buy a copy of Art is a Spiritual Path for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book. 
The author indulges the reader with three stores of images and the artists share their reflections. Allen states “art as a spiritual path teaches us a new way to relate, while intention and witness encourage our sense of discipline to grow and develop.” To be in the studio and practice with sustained focus on completing the tasks, and being open to the work of the image.
I encourage you to buy a copy of Art is a Spiritual Path for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book. 
Chapter 4 begins her second section of the book, dedicated toward the witnessing within the studio practice. She calls the reader’s attention toward the social change of system structures such as governments, churches, schools, families. These rigid structures of “good vs. evil,” provided sufficient distractions to promote one’s survival. Another of more humanist approach melds a peacefulness within a chaotic world. The author’s remaining chapters are devoted to the communal direction she offers toward building one’s spiritual path. Witnessing another’s creation, begins awareness to the appreciation of differences. Here begins her reader’s task of understanding life by relaxing old judgments of self or others. She writes, “the studio plays a part in the subversive process of learning to trust our inner authority and to question all received ideas.” Allen shares her experiences of having a student within her studio, experiencing the witnessing of others’ images. She had a facilitator instruct the students with the use of paints and materials, and give the direction for her workshop. The instruction was to make some marks on a piece of paper with directed questions such as “choose a color. what sound does the crayon make as it goes across the piece of paper.” The idea is to become aware of all sensations in the making of an image and to be mindful of their energy within themselves. When the artist believes their image is complete, they tape it to the wall. At this time, the students are instructed to write their observances about the process they were witness to - for themselves, seeing others images, the sounds, the energy, etc. Dialog, another method, is where the student asks questions of the image. The author ends the chapter with her discoveries about witnessing. As one re-creates their world over and over, their divine image is part of a larger whole. “When re-creating became recreation, creative activity began to be increasingly mediated by commerce.” In other words, what’s the product, and how good or bad is it. Allen shares her joy in being witness to her students, re-creating themselves as well as having the dialog with image to regain a sense of wholeness.
I encourage you to buy a copy of Art is a Spiritual Path for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book. 
In Chapter 3, Allen presents to the reader the concept of Witnessing, “being in the present to our images and to each other in compassion, without voicing judgment.” She calls attention to the difference between “voicing” judgments and “not having” judgments. Judgments are part of one’s survival system; important information one needs about their values and ideas. When one makes a judgment about another’s artwork, they place their value system onto the other person. The purpose of withholding judgment of one’s work or another’s is to deflate the ego and promote the relationship between the artwork and the artist. The author gives reference to Jungian theory, as well as to the work of Shaun McNiff, Mary Watkins and Marshall Rosenberg. Witnessing the image requires a practice of noticing the old patterns of voicing judgments, and being willing to not comment on ones work. Judgments bring attention to what one is lacking. Art becomes a spiritual path when connecting to the Creative Source. The intention of witnessing is not to discourage communication, but to enhance connection, especially for those at a tender beginning of creating. There is one exception to the no comment rule the author suggests, and that is to share with the other one’s gratitude as it is fundamental to the creative process. Sharing a thank you to the experience.
I encourage you to buy a copy of Art is a Spiritual Path for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book. 
Allen equates the creative energy with Eros, that for some is the erotic, pure sensual pleasure, as well as with another definition as it “the sum of life-preserving instances that are manifested as impulses to gratify basic needs, impulses to protect and preserve body and mind,” as defined in Webster. She asks why would anyone resist pleasure? Why would anyone resist the seductive act of creating when it brings so much pleasure when one is in the flow of the creative energy. Her belief is that creativity uses this seductive method to enrich human survival systems, and promotes "aesthetic responses to life’s challenges, to learn to see everything as a puzzle to be solved…” Allen shares life is like a scavenger hunt, as one comes across the pieces that connect each other, our images one makes. At times fear of the "what if” presents itself, preventing plenty to engage with the creative process, as one may have experiences that increase their understanding of their own life. Allen’s belief is that creativity is encoded in our DNA. The first stage of creativity is inquiry; just as a new born baby begins to learn about their world through play, so can one within creativity. It’s about play, playing with material and ideas. It’s how one finds themselves. The attitude one brings to inquiry effects the outcome. She suggests one cultivates a mind that resists quick conclusions and judgments - to take an attitude of openness. Otherwise, one misses the opportunity to connect with the creative source. During this phase of inquiry it is best to avoid comments from others, negative or positive. The author also suggests to avoid even naming the inquiry as it becomes part of judgment about one’s abilities. Inquiry is playful, inquisitive, open and aware of the energy, the creative drive to explore with materials, no matter where it leads. Engagement is the next stage. It requires time and intention, as well as a willingness to allow an image to be incomplete for a period of time, until we have the “know” about what is to be created. Another component of engagement is commitment. Learning to trust the creative process even when our mental aches and pains produce the internal struggle. To have the faith of continuing to travel forward no matter the distractions. Self care is critical, and developing self-compassion for this process is also necessary, and seldom encouraged. Celebration is the stage where there is the closure of the art making. It is the space set to honor what has come into existence that never was present before. Allen states “the goal of art as a spiritual path is to live a meaningful life, full of active participation with our own hands, minds, and hearts.”
I encourage you to buy a copy of Art is a Spiritual Path for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book. 
Art making is a spiritual path in which we all are able to explore. Three ways these appear in our lives - through inquiry, engagement, and celebration. Pat B. Allen’s book, “Art is a Spiritual Path” outlines these three in Part One of her book. In Part Two she devotes the rest of her book toward the studio by where building a group awareness to the Witnessing of Creating. As the creative energy is in constant flow at all times, Allen shares her belief that all of us are being called to “midwife” the creations through our own art making. And at this time our world culture is changing, and we are given the opportunity to explore in more meaningful ways to make contributions in caring for our planet. When one takes a concern or difficulty into a creative process, there one begins to see possibility of different solutions rather than reacting repeatedly with unsuccessful methods. She sees this as the greatest strength of a creative discipline to structure one’s tolerance toward building resilience. Her overall focus for Part's One and Two are Intention - our intention depends upon what we are envisioning. These come from our fears, our hopes and direction, our vision for our future. From these one may be able to gain awareness of the obstacles one may be oblivious to, as well as the jewels of wisdom when they appear. In art making there is no right or wrong. It’s play. In each creative experiences, moves one through inquiry, engagement and celebration. With inquiry, Allen offers guidance in developing a practice of intention within a creative process. It is always a co-creative process. This involves others to be in conversation with others for the idea to take shape. Intentions that ask for change are only for one’s self, not others. When one begins to create, their intentions also take new shape, especially with the image, as it becomes a teacher, alerting the artist to new ways of expression. Allen leads the reader with a question in what they are willing to “stretch toward.” Her cautions begin around old thoughts and beliefs one has that may be limiting their potential. To take a daily review of one’s intentions, looking for insight as they release their imagination into the world. I encourage you to buy a copy of Art is a Spiritual Path for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book. 
Shaun McNiff is one of my favorite creativity authors. What I love about this book is his willingness to call attention to these parts of our humanness that prevents one from being creative. For example, how our enculturation sets one on a path of perfectionism. And in this system, establish and do ordain who is “gifted,” “talented,” “genius,” etc. When unaware of this as something out of your control, you may think it’s about you. Societal norming is not the big problem, it’s the unquestioned sets of beliefs one has about their own world. He takes the readers through this process to create an openness for one to experience the joys and benefits of creativity. In all of his books, he’s consistent with steering the reader to develop a practice. A practice is the time in which one builds their skills in achieving the desired effect of the creative process they want to achieve. It is not only learning the skill, but the practicing of it daily. He gives at least 30 different types of practices, through use of reflective writing, to connecting with others for input. The creative process include a community component that often is overlooked. Yes, we share our creative expression. And often others believe one has to critique it in someway. McNiff opens the reader to the concept of Witnessing. This is to practice the compassionate understanding of what it took to complete this work, from the materials to the time, the discovery, etc. As well as to practice compassion with one’s self in completing their own work. There is no one right way to view a piece of work. McNiff calls attention to the shadow side of the creative world. I appreciate his Jungian approach for the reader to become aware of our shadow, not to fear it or avoid it, but to accept it as part of ourselves. And to see the message or insight it might bring to one’s life and work. Some of these may become blocks. To know how first how to recognize a block (most often perfectionism) as well as how to work through them. It is through a commitment to become diligent to learning these skills. These skills are also essential for keeping a bigger picture for life. To understand the influences of our enculturation, as well as the impact of unawareness has on the creative potential.
I encourage you to buy a copy of Imagination in Action for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book. 
McNiff reminds the reader the all too common mistakes one engages with in the creative process, the fixation on control, or in other words, perfectionism. It tends to curb all exploration with a hypervigilance to have things be correct ALL the time. Beginning with the outcome, the product of what is to be produced, one fixates on the ideal. The author states “fixation on controlling small things is connected to an inability to appreciate the complete composition.” One is unable to grasp the bigger picture with a focus of all energy on the little things, of which take the most energy and time. McNiff encourages the reader to develop a “good enough” standard to which they would be able to create consistency and move confidently within their creative discovery. He cautions the reader to be aware of ego and how often allowing one’s ego to lead, tends to have one compromising on their expression. Over the years, McNiff suggests, one’s failures are to be viewed as unsuccessful experiments; to provide the data only for what works and what does not. Yet some view these as defeats, and never complete a desired creative endeavor. A result of fear and a lack of confidence. Becoming aware of the constraints of perfectionism, to practice reviewing how these might have contributed to one not being able to express a creative idea. Above all, he suggests to make a commitment to one’s deepest purpose, as a discipline is only achieved through a practice. Commit to doing a daily practice of developing skills, refining techniques, activating one’s imagination, through repetition to achieve a natural flow of expression. His last suggestion for his reader is to “teach yourself.” Artistic skills are not bestowed on those deemed “gifted.” These are developed over a period of time with consciousness to inform oneself. While one might practice along, he suggests a creative practice with others helps one move beyond the patterns of resistance and are more motivated by witnessing others in their creative exploration.
McNiff reframes the subject of Quality. As quality matters, the "how to” do the very best with one’s creative expressions, he believes comes from a commitment to one’s values. He encourages “good enough,” not perfection within one’s work to assist with the negative self critical statements that may become blocks. Although there are social judgments about one’s creative work, and may be impossible to avoid. Describing some qualities that support one in achieving good enough work such as “genuineness, expressive energy and impact, uniqueness of style and subject matter, degree of risk and challenge, the transformation of difficult material into something new and life affirming, and lasting power,” he reminds the reader, there will be those in society who believe they are the ones to determine creative worthiness within an art community. He stresses the importance of developing skill to have mastery over their materials, as well as to know where one is in the development of those skills. It is the skill level of the materials being used, not the over all abilities to create. McNiff shares an example of Henri Matisse drawing with long sticks in order to develop his muscles in his hands. One area most everyone experiences is the over doing of the creative task, and losing the expression. Skill, as McNiff states, “often involves knowing what to keep and when to stop.” He also suggests the importance of community and how it impacts creative expression. Partnerships with other more experienced in their medium help to increase the abilities of others, and motivate others who are less developed.
I encourage you to buy a copy of Imagination in Action for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book. 
McNiff starts off part 5 with a reminder of one’s blocks are ‘something' wanting to be 'something else' rather than what is happening in the present moment. And one’s most reliable way to deal with the blocks is to accept them as they are. Blocks are the fears one has about the creative process. He states “trying to deny them increases their negative power.” What he found helpful for his clients was to first notice any expectations. A shift of thinking for one to “let go” of preoccupation with the outcome, to see the possibility for creative expression with persistence, exploring new and different techniques. One needs to feel safe to explore new ways of expressing their creative visions. Most often people avoid this part of the creative process for fear of being ridiculed, failing, or ruining their reputation in the community. Finding a safe community can be somewhat daunting. These safe communities are built with a direct set of principles and guidelines to support everyone, unconditionally. Knowing one’s common response may be to judge harshly, one first must be willing to be aware of the self judgment. Safety is the first goal. Becoming aware of the patterns of resistance as these are a normal part of life.
I encourage you to buy a copy of Imagination in Action for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book. 
McNiff begins this section with his theory of why people are hesitant when present in the act of creating. His hypothesis highlights on Jungian theory with the “shadow”of expression. The author sees shadow as complementary of light. Every image has a shadow depending upon the lighting, A shadow complements and completes the light. He stresses the importance of showing empathy at this time of tension for someone at the beginning of experiencing creative expression. While it usually easy to avoid any difficulty, this type of tension is one wants to learn from. As with any agitation, like in a washing machine, it’s process it to brake down, dissolve, stir up. And within creativity, this most likely would move or drive forward one finding the opportunities by responding to them, rather than avoiding them. McNiff refers to this as art alchemy, transforming difficulty into life affirming experiences.
I encourage you to buy a copy of Imagination in Action for a better understanding of your own creative process. Whether you're a master artist or beginning artist, this is an excellent book. |
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