9.2 Core themes (pt 7 of 9)

With the understanding that the artist has a way of sensing reality, I noted that the access to the creative source requires one to become aware of one’s way of living and perceiving reality around them, as British performer Roger Robinson (BBC Hampshire, 2007) say, ‘the more you are aware of yourself and [commit to it?] the more you are personally empowered’.

The literature that I read shifted to observe artists in various countries and times in order to understand the context of their creativity and thus understand the specific personal way through which they access the creative source. I examined the developments in visual art through history, and have approached artists from outside the UK for my interviews.

My artwork evolved to examine the creative processes, the way that the personality of the artists affects their creativity. The first art work in that respect was Interview with authorial-Self (2007; DVD disc of the film is enclosed to the [printed] thesis  the person was interviewed, see intervie win appendix.), a work in which I have conducted an interview with my own source of creativity that explains in simple words how do I open up to be inspired as an artist. In a second experiment, made into the film Explorers of the Heart (2007), I have performed my poetry with an actor that joined me, and during the performance we have also answered questions relating to the way that we are inspired to create art. The aim of such works was to explore and share understanding about the way that artists sense reality around them.

The questions in my interviews shifted from asking about the nature of the creative process ‘philosophically,’ so to speak, to asking about the personal way in which the artists access the creative power, touching on the social and cultural context.

The findings that arose from the interviews revealed a shared source that seems to come from beyond the conscious mind and logic to inspire the artists. Although differences in social and cultural backgrounds of the interviewees (USA, Canada, Norway, Finland, France, Hungary, Israel, Iran, the Far East, and the UK) they all shared that their personal way of becoming inspired is by way of experiencing life by appreciating it and seeing its beauty. With these commonalities I concluded that the approach of artists that allows for creativity is not a unique skill saved to artists only, but rather a simple approach of experiencing and appreciating. With this finding I concluded that chapter 12 will be named ‘Application’. By application I mean the translation of the artists’ images and emotions through the sense of environment. I do not refer to the actual making of art in the environment, but rather to the influence that the environment has on the shaping of the idea in the mind of the artist. What interests me is the psychology of the creative process.

Under Application I established the core theme ‘place’, suggesting artists’ experience and appreciation of life:

Chapter 10: Stimulation (SensingFeelingAcknowledging). Chapter 11: Internalisation (ShapeMovement). Chapter 12: Application (Place–Space).

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