Welcome… to you and a new beginning!
Anything new is thrilling and scary at the same time. For me, anyway. I’m always tempted to dive straight in and wing it to overcome the millions of small, niggling concerns and mental notes that threaten to overwhelm the initial enthusiasm and motivation. The reality is that I find my attention gets scattered resulting in working hard and long but not having a great deal to show for it and what there is has become as scattered as my thoughts. I can’t recall a single time that this way has worked well for me.
“Art, like life, isn’t about getting through it to get it over with.”
Of course, the sensible way is to ask myself, “How can I make this easy?”
To remember that there is an order to everything and to follow it.
To keep in mind the big picture but to break it down into small, safe, easy steps.
It’s common sense yet I still have to remind myself of it. To help conserve time and effort I’ve started writing a list of when going slowly has worked so when I’m about to ‘hare off’ full of enthusiasm and energy, but only with a minimal sense of direction, I have evidence to reassure myself that slow is more productive and to remind myself to channel that surge of energy into work that has focus, clarity and direction.
What I’ve been watching:
“Free Your Mind: The Matrix Now” on BBC iPlayer.
It was a dance and immersive design event showcased in Manchester, UK and a current take on the classic sci-fi film. I’m not into hip-hop or dance theatre but I was enthralled by this production. The choreography is superb and the famous Lobby scene is just as riveting as the original.
What I’ve been reading:
“Your Guide to Forest Bathing” by M. Amos Clifford.
This makes my heart sing but I’m struggling with the idea of sitting still for at least 20 minutes and walking slowly for three hours in freezing temperatures. Yes, I’m feeble in the cold unless I’m moving!
From my sketchbook:
Although they are drawn on individual pieces of paper they are more like drawings from a sketchbook, finished but raw. I like working this way because each one evolves in its own space without being directly influenced by the drawing(s) next to it.
