How does an artist set objectives for 2013

Standing with one foot in the art world and with the other foot in business creates an interesting enrichment from each side to the other: art helps me to reflect, take distance and adjust in the business world. Business allows me to be efficient and effective in my art efforts.

One of the elements I try to do since 2 years now is make my objectives for the year a bit more explicit. I have the feeling it helped me:
- get a better focus on what I want to achieve
- ensure I spend enough time on art creation as well as other aspects such as marketing and exhibitions
- be clear on what I will NOT do and obtain material result while being limited in time
- push myself beyond where I am today; and has pushed me out of my standard patterns and initial (somewhat) more cliche painting subjects

Why have objectives and direction
Looking at some research I noted the following about artist objectives:
- many art marketing books state that an artist should set objectives and also define a marketing plan
- philosophical and psychological books identify the 'lack of objectives' as one of the key reasons for artists to stop making art
- in fact, it shows that
   a) objectives should not be too concrete and reachable; it is known that artists freeze once objectives have been met and there is no new stronger objective on the horizon
   b) objectives should not be too far away as they might become demotivating when the artist discovers how far he is away from reaching them after a few months
- although the primary focus of an artist normally is a deeply internal motivation, the artist is also an entrepreneur and needs to keep developing his strategies and approaches; standing still is like losing time
- formally writing down your objectives makes it possible to evaluate and learn about which elements you can influence, which items are more difficult, and what are key areas to improve.

Counterarguments sometimes heard from other artists (and in business too by the way):
- you can not really plan and predict everything
- you just have to be lucky to be discovered
- art is not about finance, it should remain pure and an organic approach can be as good as a planned one.

In fact, in the basis all these elements are true....
But in my case I would say:
- the fact that I can not predict the road ahead does not mean I should not at all where I want to go and which road I plan to take
- we can hope for luck to cross our path, and try to help it a bit
- 'over-engineered planning' indeed creates too much structure, provides a fake sense of control and can destroy inspiration and energy; so let's define our goal, see what we do and don't want to include in our journey preparation. And then travel the road organically along these lines, making it an iterative learning experience.

Steps when setting objectives

I am taking 2 weeks to develop my objectives for this year. To force myself to be realistic and explicit I will share the key elements on my blog. This will also help to get later feedback from other artists, galleries and people I consider my mentors.
To get to my target objectives I plan to go through the following steps:

1. Evaluation of 2012
In this evaluation I would like to include:
- what were my objectives of 2012 and to which extent did I reach them
- what were the key activities I did and how did that go
- where did I not meet my expectations, and how can I get clarity on the reasons for that
- where did it go surprisingly well, and can I use more of that next year
- where did others help me get new insights, have better results.
- which elements gave me  energy and which have cost me energy
- which elements had I overlooked; also for aspects as cost, issues, visitors, suppliers, etc.
- is my view of myself as an artist, my strategic direction and vision still intact. Are there reasons that challenge my ideas or could enrich my view.

2.Refine my personal dream, view and approach
As an artist I have a dream, an idea of what I would like to achieve with my art, in a sense this dream is the 'muse' that drives me and makes me get up every morning full of energy thinking of art and life (well, almost every morning). It is good to make this dream concrete and make it subject to a bit of a sanity check.
Changing my objectives marginally while forgetting to face the brutal truth about my dream would imply spending lots on hours on a journey that is not for me to travel....
In practice this means that I will ask myself the following based on the evaluation of step 1:
- how can I enrich my views; which elements to add
- are there things I should consider for thorough review
- can I involve other people to get more clarity on how to approach certain items
- can I still justify my self-image about my talents, pitfalls, challenges and life approach, or are there multiple signals that suggest I should re-assess some of the points

3. 2013 Objectives
Which elements would I like to reach.
Where a key element is still how to remain energised, not make the objectives more important than the joy experienced and shared with others.
Already when writing this article I feel that the idea of having to finish a structured article makes my energy flow away.

4. Approach and planning
It is good to make some things practical; ensure there is a drive to push myself forward.

And translating the objectives in some concrete steps, but leaving the space to follow new things, experiment with new techniques, enrich my views by sharing with others etc.

5. Sanity check
After all has been written good to do a quick sanity check; is it all realistic, how will it work, what are my personal strengths that are required and my weaknesses that will stand in the way.

6. Go for it
Still important just to go out there, experiment, be heavily disappointed, ensure to live a full life, reflect and make all that part of my art, and make art part of that life.

Well, enough talked so far about my intentions and ways I would like to create a small plan. Especially having been offered several places to exhibit, need to work on some art works, be passionate and use the structure to help broaden my horizon and deepen my engagement with life.

Mona Lena - disappointment helping the artist

This weekend spent some time working on this new art work.
Initially I made the first layer in a park in Paris, together with two other paintings.
I loved the basic shapes and was looking forward to work more on it.
Now, the park closed around 10 and we had to leave before it was actually all dry.
When getting home I was disappointed; the surface of this painting got stuck to the other painting, and when trying to make it wet and detach it from the other paper, it turned out to be damaged; removing the upper layer of the paper from some parts.

Fragment showing
damaged part after
adding decoration

Last weeks I had worked on the other 2 paintings, and left this one aside. It gave me time to heal from the hurt caused by the damaging of the painting. Also I have had multiple experiences now where some destructive element in the work actually becomes an inspirational part and forces me to explore now things. So, basically I waited for that to happen.

This weekend I had some time, in between enjoying our newborn child, and I put the painting in front of me for some time. Then indeed at some point I thought of what to do with it; I thought the white part could work as part of a more strong white structure. So I started off and got quite excited, while working in a flow detailing the art work and adding the white layer.

In the end I am quite happy with the result. And I am quite sure I would have never found this great composition hadn't the art work been damaged in the first place.

Conclusion, although not supported by a scientific analysis:
disappointments can help the artist, especially in pushing boundaries and finding new ways to express himself.

So, guess I will go looking now for the next disappointment :)

Good to be bored

Last Friday I had a friend visiting that wanted to make pictures of me. Not because I would be specifically beautiful, but more because some time ago I had grown a beard, and she wanted to make several portraits of bearded people.

One of the portraits
by Hanneke van den Tooren

We discussed several aspects that i wanted to capture here.

Sometimes when making pictures or learning new painting techniques you have to think consciously about how-to-make-it while making the art works; which somehow prevents you from getting into an inspired mood (or flow). This by itself can be a bit worrying but is just a phase. In trainings one would normally address 4 phases:
1) incapable unaware; we are not aware of how we make mistakes or how we are limited by our skills or behaviour.
2) incapable aware; we have become aware that something is limiting us, which could be (i) through another person pointing this out, (ii) because we reflected and discovered ourselves, or (iii) because we have decided to set new goals and need to learn new things.

the learning curve with 4 steps

3) capable aware, meaning that we are aware of how to do things and start to be able to integrate this in our approach. But thinking is still required as part of execution
4) capable unaware, when we actually integrated the new insights into our behaviour and do not need to think any more when working.
The best step is of course step 4, but once we reach that stage it is good to realise that step 4 is probably the same as step 1; as there is a next step to be achieved and new things that limit our results and growth.

I would say that an artists stands on the shoulders of all previous artists in history, reaching for new levels. The artist needs to first understand and learn what others have done before him. And, even though this is sometimes unconscious, the artist will replicate many of these artists.
I remember when making my first cartoons; although I tried to make new cartoon characters they always ended up very much like my favourite cartoons (the Doorzon Family from Gerrit de Jager for example). And while searching for new characters and story lines to make my cartoons I was always trying to be original. Frustrating would then be when my brother - being confronted with my newest cartoon - would say "wow, nice, it actually looks like the Doorzon cartoons". Although intended as a compliment such remark could really bring me down. At the same time I had to go through these phases to at some point be capable of really creating my own cartoons and my own style. And even now for my latest cartoon ArtBurshy I can imaging people recognise other cartoon styles in it.

To make these evolutions and then create your own style requires going through the steps of learning several times. And crucial becomes step 4, and specifically when getting bored; finding no challenge in the current making. I would say that real inspiration comes with a vision of where you would like to go, and with a challenge. If there is no challenge it is the same as the last painting; we are copying not really creating. I understood that also Picasso several times started a new style after fully mastering his previous style; a nice inspiring thought I keep in mind to push myself for new ideas when being bored.

For these moments when being bored I always keep my notes of ideas. These ideas come at the weirdest moments; often just when getting up or after a strange dream; when walking on the beach, when having a conversation with a friend (and sometimes when using some alcohol ;) ). I try to write these ideas down, as they fly away as quickly as they come. And I use these notes when feeling bored.
As a side note I remember an interview some years ago with Karl Lagerfeld, who always slept with a notebook next to his bed, as most of his creations came when waking up.
Often these notes represent crazy thoughts, things that seem appealing but difficult to reach. These appealing images are the ideal drive to move from step 4 towards step 1, starting to identify the horizon for our renewed journey.
Generally I discovered when learning myself or when teaching others; it is more easy to learn new things when trying to reach for a new goal than just by sequentially teaching skills.

Every limitation is... a source of inspiration

On 14 July I will participate to an art show in Barcelona. The venue will be a beautiful Gaudi house/museum/gallery; Casa Batllo ( http://www.casabatllo.es/en/ ) located at Passeig de Gracia.
This exhibition will show multiple artist and I got involved through the organising gallery: TheFunkyArtGallery.com. One of my art works will be shown there, but as this is a traditional building with many nice curves and decorations there are limitations to the display size. The concept is that each artist shows one work and his/her other works are available through iPads that are made available there.

Limitations are quite strict and as I joined a bit later I had a bit less options; so I can show one painting of max 60x90 cm... And actually I don't have that type of size at hand;  had been working on larger formats recently, some of my art work being sold, some being still displayed in a longer exhibition in Amsterdam. And at the same time I want to make sure that the painting that will be shown is a nice representation of my other works.
I faced a bit of pressure, but decided to use the limitation as an inspiration for some new art work. Focusing on limitations can remove loads of energy, which will delay the production of art, which on its turn will increase the pressure and reduce the energy. Instead I decided to look for a new way to create art works in my Subconscious Power series.

When I started looking for a format of my favourite type of paper (hand made from cotton rags) I discovered the art store had no such sizes; normally a frame takes 10 cm on each size, so was looking for something like 40x60 cm. But after size 30x40 the next one was around 60x80... Was a bit disappointed; I had been looking forward to buying some new materials and let that inspire me...

So then on the way back I realised I had been thinking for some time now to use thread in my paintings; to accentuate shapes, to create another layer on my paintings. And I had thought to combine painted sheets with sheets that were drawn with pencil; as a contrast and showing how even very different materials together could make a rich and beautiful composition. I decided to go to a small store in the West of Amsterdam, specialised in threads, needles etc. I found some lovely colours in silk and bought myself some embroidery needles to weave the thread on the paper. Had no clue yet what it all would look like, but just felt energised and decided to follow this flow.

I started working on the papers; already had some 30x40 pieces that I had been decorating in the snow. I selected a few and started continuing to decorate; getting myself in the flow and feeling what I felt when I originally made them. This gave some nice combinations of sheets; one painted and one made with pencil. The pencil part I worked by spraying water on it to fade some of the decorations and make it integrate with the other image.

Then, had been waiting for the right moment and finally had some time reserved to start the weaving of the silk threads. Had the needles, the paper, the silk colours... I put the thread through the eye of the needle...but the eye was not big enough. I couldn't get this done and there I was...filled with inspiration on a wonderful bright Sunday in Paris...stuck with all my materials...

I told my friend that evening and she gave it a try...after 15 minutes she had one done; she also did a few other ones and I could really start. I worked into the night, and also the days after, energised by finally making it happen. The first one got finished this weekend, and really happy with the result; cant wait to start finishing the next one.

Result? Two different sheets of paper decorated with different techniques, connected through silk threads that form the highlighted pattern that connects both images. Somewhere this week I will make a better picture and upload it to the website; and the promotions can begin.

It is funny however to keep reminding myself that every limitation is a source of inspiration. If I don't I just lose energy at every step and it becomes a very long journey.

Read about how I made the art in the snow here.
In next articles more about the art exhibition in Barcelona 14 July.
Art work available for sale at The Funky Art Gallery

Also coming up: exhibition in Chelsea NY November, December 2012

What managers can learn from art: inspiration

In the Western world from very young age we are taught to push our structure on the world. And when it does not work...we learn to push even harder. In the work place managers traditionally do the same: they push methodology or their personal structure on their teams, and check that everyone delivers in that structure. When applying structure, and when forcing other people to deliver within the manager’s structure it seems the manager gets more in control. Plan-do-check-act and multiple other control cycles seem to guarantee results, and if the results are not delivered we confront the people and make them improve.

I had the same approach when I started my career as manager, but art made me see limitations of the 'control' approach. I could see that I was implementing controls, but actually needed to find the people that were willing to invest all their energy in the team and its services. I would say that the most important role of a manager or leader is to inspire people; energize the team to reach its maximum potential, remove barriers, and create a shared image of where the team needs to go.

What can we learn from art about inspiration?
This article is too short to cover all elements so I will just focus on a few aspects.

Inspiration for an artist becomes an important topic…
...when it is not there.
One of the most frequent moments for artists to lack inspiration is just after art school. During art school artists would have assignments and they would naturally find a direction and create the art works that go with these assignments. When they leave school they need to find their own direction; what do I want to do in my art, what role does it have in my life, which to choose out of all possible directions, what will become my style, what surface do I work on, what subject do I take and even which colors for my painting, etc.
For an artist therefore it is important to find a clear direction, some subject close to experiences and passion, a subject that touches the artist. A subject that is a drive, and at same time, gives courage to make decisions and make choices early in the process and then continue exploring the way forward. Setbacks in the process then no longer become a burden, they become the adjustment of the view of the artist and the growth even inspires the artist to explore new ways.

In companies I have observed several times that managers are not seen as inspiring. As a start a manager has to be able to inspire him or herself before being able to inspire others.
To inspire a whole team the manager needs to create a clear direction for the team. I would say that the manager needs to create a shared image of the added value of the team, the role the team has to play in the future; what does the team need to bring to its customers. The shared image should be a simple insight built on the contributions of the individual team members; it is not only the view of the manager. If a manager wants people to follow him/her, he/she needs the courage to accept the views and directions of others. The image should not be too close, as energy can drastically decrease when reaching the image and people would feel 'we are there'. The image should not be too far away as it makes people paralyze 'this is just impossible' or 'not realistic'. I call this process Shared Imagination, as creating an image with a team of how to approach their role or tasks is a valuable process. In fact, it can be compared to having a muse; unreachable but beautiful and clearly visible.

The next important step is how to engage people with the shared image. If a manager splits the overall journey into small tasks, providing everyone clear deliverables and timelines everything should be okay, or maybe not?
The key element is to see each person and their key talents and what they can bring to the team, and what is important for them to get from the team. A shift in thinking would be to provide the shared image to each individual and ask them to present to you how and what they will do to help the team get there. This allows the person to find a way that fits with talents and preferences, and remain energized during the journey.
But what about risk; how will you make sure that the person reaches the goal without your structure? Well, ask the person: "how can we ensure that we see when you are on the right track and when you need support?" In my experience this approach leads to a fully committed answer. Sometimes it takes time as people have been brainwashed in the current structures of deliverables and manager generated planning. But they will get there.

It is interesting that we see similar observations and approaches in recent leadership literature. For example John P Kotter refers to: creating a clear strategy, clearly scoping the role of the individual and make the person take ownership and provide support when needed.
Philosopher Heidegger put it very nicely: People are required to shape their own world around themselves. With that we follow the principle of reducing pressure and burdens. Because there is already so much to do we strive to organize things and ourselves to function reducing spontaneity, motivation and energy. Human kind therefore tries to get rid of its eccentricity and reflexivity by structuring its environment that it discharges it of those values that use to be seen in philosophical tradition as the climax of human dignity: spontaneity, reflexivity, freedom.

In my art I have also faced issues in getting inspired. But after some time I found my personal direction:
"I reflect on how I live my life, wherever I feel I can be a more beautiful person and with that intention I create a new concept. The concept is the translation of the intention into the way-to-create the art works. I integrate the intention into actual behavior while making the art work, connecting the idea to a deep physical and mental experience'.
One example of such a concept:
Personally I have also been raised with structure and discipline. This has brought me to where I am; a successful manager in financial service industry. But sometimes these 'programs' in my mind prevent me from being free, from daring to discover new things. In this concept I make beautiful drawings and paintings. And when they are ready I tear them in pieces… With these pieces I force myself to find a new composition. And in many cases the resulting collage becomes a more beautiful image than the original painting. This process makes me less afraid of letting go of my personal structure. And whenever I see such a painting when getting up in the morning, I smile and think: "let’s not be afraid today to let others the freedom to work in their way'.

…and then metaphorically… I walk naked into the sea with an inspired smile on my face...