Facing Fears and Creative Challenges with Courage and Curiosity as an Independent Musician

by Rachel

Independent Musician Carla Stella

This is a guest blog post from the wonderful Carla Finsterbusch aka Carla Stella.

A Child’s Silent Dreams

I remember watching in awe whenever people played music on the streets. I remember pretending to be a pop star on some imaginary stage. I remember watching ‘Mama Mia’ for the first time and secretly wishing I was Donna. Music, Art, and Creativity have always fascinated me. Yet, the 10-year-old me had always assumed performing music was only meant for some really lucky and gifted people. Back then, I was way too shy to express my passion for music. It never got into my head that I could be making music too. Luckily, this assumption has changed. I started challenging my old beliefs. I realized, I needed to get out of my comfort zone to live my dreams.

Beginning My Creative Journey With Small Steps

At the age of about 11, I founded a girl band with two classmates. We totally dedicated ourselves to Christmas songs, and I definitely thought we were going to make it as the next big hit! However, we played gigs in our heads only…

Manifesting Dreams and Releasing My Debut EP

When I got my first own keyboard about 10 years ago, I never thought about writing my own songs. Today, I’m 22, and last year I have self-released my debut EP ‘Marionette Show’.

Meeting other musicians when I moved to study in the Netherlands three years ago, I realized I wanted to focus more on music. Understanding that if others can learn how to produce and release songs, I should be able to do so too, redirected my entire mindset towards growth.

Autodidact Learning and Gaining Confidence

Over the past one and a half years, I learned everything I know about music production by joining multiple courses and workshops. I got to connect with many like-minded people who have been supporting me on my journey. In a male dominated industry, meeting other strong women who learned music production was especially empowering and important for my confidence.

I moved at a fast pace and within half a year, I self-produced my debut EP. Looking back, I’m laughing at the silly mistakes I did back then. I didn’t even know how to set the metronome when recording my first songs. There was no one who told me where to start and what to do next. Learning everything by myself was really overwhelming at times. At the same time, I learned to divide my energy, make decisions, and take on responsibility for myself.

Most importantly, I wanted to have fun and enjoy the process of creating. I wanted to enjoy the magic of developing something unique and expressing myself creatively. I wasn’t afraid of failing, and I accepted what is already there as enough! Exactly this mindset motivated me to finish my EP.

Overcoming Comparison and Perfectionism

Despite the joy of creating, it’s easy to fall into a downward spiral, especially when comparing yourself to others. It’s easy to become overwhelmed or get stuck in perfectionism. That’s what happened to me over the past months. I even started doubting whether I should pursue making music at all. Constantly doubting whether my music and I as a person are enough held me back from finishing my projects. This toxic mindset held me back from doing what actually matters most to me. I realized, I sometimes have to learn to limit myself in the creation stage in order to actually finish my projects and not become too perfectionist. Acknowledging that what is there is enough protects me from constantly being drained and frustrated because I think I should do more.

Prioritizing in Self-Directed Learning

Self-producing and self-releasing music are very self-directed activities. It can sometimes feel quite isolated, especially when no one around you seems to do something similar. Besides the actual music production, I wanted to learn additional skills such as basic marketing and PR. I learned how to write my own press releases, submit my songs to several blogs, magazines and radios. I also had to deal with the fact that all this effort did not pay off the way I expected it to.

I wanted to learn too many things at the same time, which hardly left me satisfied with the results. Constantly pushing forward without taking breaks was really exhausting and lead to an inner restlessness. Learning the importance of setting priorities, helped me do everything with more ease. Being proud of what I have already accomplished and setting specific goals for the future is a crucial source of motivation and inspiration.

Balancing Multiple Passions

Balancing two passions, psychology and music, has been an additional challenge. Finding enough time for both, and making sure to not overwork myself, hasn’t been easy. Sometimes, I would sometimes totally immerse myself in university tasks because I felt overwhelmed by all the creative ideas I had for my music. Interestingly, when I was really stressed with studying, I often felt even more inspired to write new songs.

This has shown to me that on one side, multiple passions can challenge, but on the other side, they can also enrich each other creatively!

The Impact of Environment Change on Self-Development

Living in Berlin over the summer has shown to me what impact an environment change can have on who you are and want to become as a person. I barely knew anyone in the city, and the new environment has challenged me to get out there, meet new people and get out of my comfort zone. I got inspired by people who are at a stage in life where I would like to see myself. I realized the power of a community that believes in you and lifts you up. At the same time, I realized the power of believing in myself and talking to myself in a kinder way that nourishes my creative energies.

Self-Acceptance and Adapting a Growth Mindset

‘What makes you think you are different from the people that have achieved what you want?’ This question has really made an impact on the way I think about my goals. While others might be already a lot further in the process, I do indeed have everything it takes to get there. The people we tend to compare with have also started small, only to grow with every new step they take. Shifting the focus on what is already there and what I have already accomplished makes future goals look less intimidating.

Changing my mindset from thinking I am not enough to committing to accepting myself, and acting upon my values has given me so much energy that now I feel like nothing can hold me back anymore. I’m getting more into a flow!

I know there will always be ups and downs. I know there are going to be points in the future when I am going to feel discouraged again. This is normal. I am not going to let this stop me from what I am doing, I can always refer back to why it is meaningful and important what I am doing. Adapting the right mindset and directing it towards growth can change an entire life.

Facing Fears and Insecurities

One fear I had for a long time was performing in front of others. Looking at where my courage and curiosity have brought me already in the past was very uplifting and motivates me to use my courage as my strength to face my fears. Adapting the mindset “what doesn’t kill you, makes you stronger” has helped me deal with my insecurities. In fact, the times when I did something that scared me anyway, were usually the times when I experienced what is also called the “highest self”. I realized that my fears were mostly unfounded. I was afraid of failing. But I wasn’t aware that failing is in fact very normal and part of the process.

I was afraid of rejection. But became aware of the fact that I will never be able to control how others react to me and how others like what I am doing. I realized, I can only control how I treat myself – Am I rejecting myself? Or am I allowing myself to be just myself?

There will be new challenges along the way, but knowing my values and strengths will help me find the courage and power I need to follow my dreams.

First Time Busking and Facing Fear of Performance

When moving to Berlin over the summer, one of my goals was to go busking there. As someone who has barely performed in front of others and never went busking before, this idea really scared me. Being scared didn’t hold me back from doing it anyway!

On a hot Sunday in the beginning of August, I decided I’ve practiced enough. I felt ready to show my songs to this colorful and buzzing city. I got excited to see people’s reactions to my songs. The will to take on this challenge grew much bigger than the fear that held be back before. Loaded with my e-guitar, amp, and mic, I went to Mauerpark to find a good spot. I was aware that if I decided to leave again, no one will know. But I did not want to disappoint myself. I remembered how my courage has helped me grow in past situations. And what’s the worst that can happen anyway?!

In fact, what really happened was that I had a lot of fun and people seemed to like my music too. Once I started playing and singing, it seemed like all my fears got washed away and there was only joy left. Some people told me they felt inspired by my courage. As connecting with people through my music and empowering others to live their dreams is one of my main reasons to make music, this feedback confirmed to me that I was going the right way.

Busking in Berlin

Values and Goals Awareness

I am writing this while I am doing my internship at The Great Creative Life in Berlin. I truly believe that there is talent in everyone. During my internship, I learned that after important steps like clarifying goals, identifying and removing obstacles, coaching includes creating a strategy and making action plans.

A coaching session would usually start with asking a client about specific goals they want to work on. An important lesson I learned during the internship is about the importance of knowing your values. Reflecting on my own values now constantly helps me prioritize tasks. It helps me make more goal-directed decisions, and focus on creative expression and building connections to other people.

Slowly, I realized, I do actually have an idea of what I want my future to look like. I realized, I wanted to grow a bigger network and meet more like-minded people to create a feeling of togetherness and community, and not get stuck with a feeling of despair and overpowering. I realized, I actually do want to go out and perform my music in front of other people and connect with them. I realized, my creativity DOES indeed matter! I realized, my dreams are indeed realistic.

Positive Feedback Loops

Oftentimes, facing one fear and growing out of it sets an entire positive upward spiral into motion. The strength and courage that are build from those experiences can transfer to other situations, having an empowering effect. For example, I felt motivated to go to several open mic sessions in Berlin, performing my own songs, which allowed me to expand my audience and build valuable connections with like-minded people.

Being scared but doing something despite this fear and gaining positive experiences while doing so has an incredible effect on both, self-esteem and confidence. The more often you jump over your own shadow, the easier it becomes. Driven by initiative and courage, this positive feedback loop will automatically guide you into the right direction!

Key Takeaways

Your creativity matters!
Challenge old beliefs and get out of your comfort zone.
Knowing your values will help you prioritize tasks and direct them toward your goals.
Learn to be responsible for yourself and your goals.
Accept that you are enough! Be proud of what you have already accomplished and set specific goals for the future.
Understand that failing is normal.
Adapting a growth mindset helps to deal with ups and downs.
Use your strengths to face your fears.
Let your will to take on a new challenge grow bigger than the fear that is holding you back.
Believe in yourself and talk to yourself in a kind way that nourishes your creative energies.
You cannot control other’s reactions toward you; You can only control how you treat yourself.
Limiting yourself creatively and focusing on one thing at a time can help against procrastination and not finishing projects.
Multiple passions can enrich and profit from each other.
Changing environments can be a new source of inspiration and an opportunity to reinvent and surround yourself with inspiring and supportive people.
Stop toxic upward-comparison, accept what is already there, and be proud of your accomplishments.
Face your fears and set the positive feedback loop into motion.

Biography

Carla Finsterbusch aka Carla Stella is a musician and freshly graduated psychology student about to embark on a Masters in Creative Talent Development. Blending ethereal melodies and uplifting dance beats with a sensitivity for poetic lyrics, her music reflects her passion for experimental electronic indie pop and the human mind. She writes, produces, and performs her music, using her voice creatively to address the broad spectrum of emotions that we are able to feel as human beings. Aiming to create a space where everyone can feel heard and respected, she addresses topics such as (gender) equality, sustainability, and mental health. Merging her enthusiasm for music and talent development, she specializes in coaching and developing creative talents.

You can connect with Carla and listen to her music at the following places: Carla Stella - Marionette Show

Creating Calm Within: An introduction to the basics of nervous system care

by Rachel

The first time I met my psychologist he suggested I try a breathing exercise. I rolled my eyes at him. My problems were huge, I didn't have time for that kind of thing. As if that was going to fix anything. Many years later, I'm the person telling people to try breathing in the face of a crisis.

Many of us are currently experiencing anxiety and ongoing stress. It's important to be able to regulate your nervous system when you get too anxious to think straight, and to take time regularly to de-stress.

Maintaining a healthy nervous system through regular, daily practices helps you to avoid falling into crippling anxiety.

To achieve these two things (reducing anxiety and avoiding triggering it), you need to learn how to activate your parasympathetic nervous system.

Parasympa-what?!? I hear some of you ask.

A Quick But Important Neuroscience Recap

In your body your nervous system has several components that control various functions.

Relevant to stress and anxiety are the sympathetic nervous system (SNS) and the parasympathetic nervous system (PNS).

The sympathetic nervous system is responsible for your 'fight or flight' crisis mode.

It prepares your body to take quick action. Blood pressure, blood flow and stress hormones are increased in this mode. This mode is great for getting things done when it's for short periods of time. However, when you're constantly in this state or are so activated that you feel paralysed (freeze mode), it can have detrimental affects on your body and mental wellbeing. Your immune system is lowered in this state, making you more prone to illness.

On the other hand, the parasympathetic nervous system is responsible for feelings of calm and resting.

This is your 'rest and digest' mode. Your immune system is strengthened when you activate your parasympathetic nervous system. Blood pressure, blood flow and stress hormones decrease in this mode and you experience increased feelings of wellbeing.

A basic understanding of how these systems work together helps you to hack them so that you can reduce feelings of stress, anxiety and panic and increase your wellbeing and ability to function in a crisis.

Tips For Reducing Anxiety

First, let's look at how we can reduce immediate feelings of anxiety through activating your PNS.

When you feel anxious with feelings of urgency, pressured thoughts and worry, tension, racing heart and so on it can be helpful to:

1. Notice and name it. Notice the thoughts, physical sensations and how you're breathing.

For example, say to yourself: 'I notice my thoughts are racing,I feel scared, there's a lump in my chest and I feel like I'm barely breathing at all'.

2. Consciously decide that you are going to help yourself now through supportive practices.

Say to yourself something like: 'It's okay that I feel scared. I accept this moment as it is and I have tools I can use to help myself through this. Firstly, I am going to help myself by slowing down.'

It helps to say these sort of phrases in your mind in a sloooooow and compassionate way.

3. Bring further awareness to your breath and body. See if you can relax any tense areas of your body through stretching, tensing and releasing.

This can feel hard to do when you're in 'URGENT!!' mode and your brain is telling you that the world is ending. Remind yourself that slowing down is exactly what you need to do to think more clearly and make better decisions.

4. Apply your PNS activation tools (below). Take a few minutes, or as long as you need, to do an activity/activities that supports your body to move into your parasympathetic nervous system mode.

Your Anxiety Reduction Toolkit

Here are a few of the many ways you can activate your parasympathetic nervous system (PNS) AKA tools for your anxiety reduction kit.

1. Breathing exercises

2-4-4 breathing can be particularly helpful. It is used for managing panic attacks but also helps for general feelings of anxiety.

Breathe in for two counts, hold for four, breathe out for four. Repeat seven times or more. A few rounds of this will alter the oxygen levels in your blood stream and move you into a calmer mental and physical state.

2. Notice the present moment

While breathing gently, name five things you can see, four you can hear, three you can touch, two you can smell, one you can taste.

This has the affect of bringing your mind into the present instead of wherever it is currently racing into the future.

3. Lie on your back with your legs up the wall for to five to fifteen minutes

Lie in a comfortable spot with your legs up a wall for 5-10 minutes and breath gently. Listen to some nice music if you like. Blood flows to your heart and mind calming your nervous system. It's also good for insomnia.

Avoid this exercise if you have any medical conditions such as glaucoma or heart problems.

6. Massage

Even self-massage or massaging someone else helps. Massage releases tension and increases blood flow. The rhythmic aspects of massage have a soothing effect. Massaging someone else is like using them as your personal stress-ball and you have the added benefit of doing something kind. Compassionate acts have been shown to stimulate additional feelings of calm.

7. Meditate using art

As an art therapist I help clients access their PNS through a simple exercise called 'painting the breath'. This is a great exercise if normal meditation seems too difficult for your racing thoughts.

To do this, you need a piece of paper and pen. Draw lines that match your breath in pace and length. Draw one line for the duration of your inhale, draw one line for your exhale. You can do this without picking up your pen, or with two coloured pens, with paint brushes, or whatever way you like. Let it flow. About five minutes of this supports a more relaxed state.

Scribble drawings, mandalas and colouring in books all have a therapeutic and calming effect.

8. Repeat and/or write mantras

A helpful activity for slowing down racing thoughts is to repeat mantras such as 'Slowly, gently' or any words that support you to feel better. Writing out these words with coloured pens in a very slow and gentle way will help slow down your thinking.

9. Dance it out

Put on some music and move in whatever way feels good for you. This can release a lot of the physical tension that builds up with anxiety. Music has a powerful ability to shift our emotional state.

10. Progressive Muscle Relaxation

This is an excellent relaxation tool for reducing anxiety. You can find many versions of these on YouTube or apps like Insight Timer or Mindspace. Here's one progressive muscle relaxation exercise you can do right now.

11. Run cold water over your wrists

This brings relief from cortisol and slows down your blood flow.

Your Ongoing Nervous System Care Toolkit

For dealing with ongoing stress, taking time every day to do activities that activate your parasympathetic nervous system enables you to maintain good health and wellbeing. Daily practices will reduce the chances of you falling into severe anxiety. You can avoid burnout, diseases related to chronic stress, unnecessary arguments with others and bad decisions caused by stress.

Activities for good nervous system care are:

going for walks
spending time in nature
yoga
meditation
listening to music
practicing mindfulness during everyday activities eg. cooking or cleaning
having a cuddle with a loved one or even a teddy or pillow
progressive muscle relaxation (as mentioned above)

Reduce pressure on your nervous system

Having good boundaries around your social media and news consumption will stop your nervous system from getting overworked. Through regularly tuning in with your body you can learn to recognise the signs that you are overworking your nervous system. Signs include tension in your muscles, shortness of breath and 'frayed' thought patterns.

Key Takeaway

By practicing good nervous system maintenance you increase your mental and physical resourcefulness, you feel calmer, you can think more clearly and make better decisions.

Consider nervous system maintenance part of your overall health and fitness regime.

What are your favourite calming activities? Comment below and please share this article with anyone who might find it helpful.

PS. As always, if you are experiencing ongoing, debilitating anxiety or panic attacks, reach out to your health care provider for additional support. You can find many anxiety peer support groups online on Facebook and Instagram to help you feel less alone.

The Future of Art: Lionel Cruet

by Rachel

The Future of Art is an interview series where I speak with artists on the topics of sustainability and climate change in relation to their artistic practices. The series aims to explore a range of viewpoints, not only those of artists working directly with these topics but also how it affects the practices of all artists, no matter their chosen themes or mediums.

Our next artist is Lionel Cruet. Lionel was born in San Juan, Puerto Rico and lives and works between New York and San Juan. He works across various mediums in order to explore topics related to economics, geopolitics, and technology.

Tell us about your art. What do you create and why?

I create large-scale audio and visual installations, experimental digital prints, sound arrangements in space and videos to recreate spaces, memories, and experiences using imagery of natural spaces as a metaphor to understand the complex and interconnected realities we all live in. The sources that serve to create the installations come mostly from a digital form, archival material, thus, the generated artworks are research-based.

Images of obscure natural spaces and elements that define our intimate relationship to spaces, such as storage containers, sounds, voices and songs of proclamations in the void, become the aesthetics of the work. Through my artworks and practice I am constantly confronting geopolitical issues, states de facto, economics, the act of speculation and testimonials about the relations that we create to spaces and natural environments; always underlining a conceptual framework that comes from my experiences as a Caribbean colonial and post-colonial being as it is in dialogue with the rest of the world.

At the End of Daybreak, 2017, vegetation mural and audiovisual installation on translucent cube, variable dimensions © Lionel Cruet 2017. Image by Everson Museum of Art

How have the topics of climate change and/or sustainability affected your artistic practice either directly or indirectly?

Climate change and sustainability are two different areas for me, related, but they are distinct. The awareness around these subjects started to formalize in a seminar I took while in college at La Escuela de Artes Plasticas in San Juan, Puerto Rico. During the seminar we observed multiple approaches that artists and designers have taken to create sustainable practices. We observed adjustments in living spaces, approaches to use of renewable materials, use of energy and such. I truly believe that helped me to think and envision a practice for myself as an artist.

At the End of Daybreak, 2017, photo installation and audiovisual installation on translucent cube, variable dimensions © Lionel Cruet 2017. Image by Everson Museum of Art

Was there a certain point in time that you became more aware/self-conscious of climate change/sustainability issues?

Yes, I have always been aware in my innate consciousness about this issues; But more specific to the impact of humans activities in Earth and with other species. Sustainable issues are about the adjustments that we can make as individuals and as a society to over turn and sustain without causing long term impact. Since I was young I could see it and I was aware of it but I didn’t have the language to describe it. Also in my living environment and with my family I was limited in making significant changes toward a sustainable living. I was not a decision maker within my household with the ability to change living patterns that affect ‘climate change’ in the long run.

With my artist studio and my home environment I keep making sustainable adjustments and adapting.

With time I understood that Climate Change is increasing but that it is caused by the levels of industrial and mass production that extends from a demand for international commerce.

At the End of Daybreak, 2017, vegetation mural and photo installation, variable dimensions © Lionel Cruet 2017. Image by Everson Museum of Art

Have you reduced your carbon footprint in your professional practice in any way over the last few years. If so, how?

As an artist and with my studio practice I have made significant changes to support the sustainable production of artworks and the methods for how things are done. For instance, my studio has a sensor for the lights so they turn off when there’s no activity. In my studio we have changed the ways for how framed artworks are packed and shipped. We no longer use paper, tape or bubble wrap, instead, we use fabrics and belt systems that are reusable. Elements like this help advance a sustainable framework and the studio functions. When it comes to the artworks, most of them are in materials that have minimal impact on the environment. Digital forms and archives of videos, sounds, and images are some of the mediums and materials I work with.

There are some artworks that take on physical form and all of those are created with materials that are sorted out by local or regional providers, which make less impact on the environment.

Future of Art Interview: Jarek Lustych

by Rachel

Our next artist is Jarek Lustych. Jarek Lustych is Polish visual artist (b.1961) based in Warsaw. After his fifteen-year career in the confined space of printmaking, Lustych decided it was time for some change and has taken his work out of the gallery space in an attempt to redefine the perception of art.

Tell us about your art. What do you create and why?

For over fifteen years I have been taking art for a walk, letting it take a breath after centuries of enclosure in galleries, collections and museums. It is known that galleries, by definition, ennoble everything that goes into them. By placing my work in thickets, gates, puddles, in a word, in contexts that - as they are out of the normal 'Culture rules' - are usually not associated with art, I have attempted to redefine the concept of art and redefine its area.

In my investigations I'm concerned with the elements of our everyday life which are scorned or ignored because of their commonplace unnoticeableness. It is this invisibility, with its hints of mystery and discovery, that I have always found the most alluring. My actions move these elements from the murky background to the limelight, emphasizing their value. Enhancing existing chaos, I intend to shake spectators out of the rut of everyday thinking and direct their attention to the hidden sense of events and ambiguity of the word.

How long have you been practicing as an artist?

It has been 33 years already. Initially, the main area of my artistic focus was relief printing. Exploring its possibilities and limitations, I created a series of works that have been shown in Poland and abroad and in competition presentations. My solo exhibition showed various stages of these experiences – in the changing technical solutions, formats, and in the methods of imaging. After this fifteen-years working in the confined space of printmaking, I decided it was time for some change and enriched my practice with an extra dimension in an attempt to redefine the perceived scope of art.

How have the topics of climate change and/or sustainability affected your artistic practice either directly or indirectly?

The public fetishistically substitutes consumer ideals for the lost, acculturating experiences of art. Very few realize that not only do we accumulate, but most of those purchases are junk. Many of us don't stop at purchasing merely basic needs, but invest and indulge in luxury goods. The consumer industry thrives on corrupting real desire for beauty and change. Consumptionism expansively calls for production beyond need in order to create high profits for producers and abundance for the public.

Amid a hailstorm of unbridled production, I'm embarrassed to add any new objects to this excess. Besides, imposing my autonomous creativity on the environment seems inequitable for me since I'm a part of the threatened environment. That's why with my work I usually explore existing entities. I'm eager to share authorship with the elements. Very often "nature art" just means putting pieces of art into nature. In this way nature is used as just a nice background. With my works I try to establish a dynamic relationship with the elements. The environment is an active part of my work. By using the unique properties of the environment, my projects aim to manifest the normally imperceptible aspects of the environment.

Have you reduced your carbon footprint in your professional practice in any way over the last few years. If so, how?

The only morally, environmentally indifferent activity would be not doing. But that's hard decision so you have to find the balance. I prefer, whenever possible, to work with discarded/recycled materials: wasted fruit boxes, soda/beer cans, plastic shoping bags, used tea bags and the like. Once these objects are passed their prime they are transformed into large piles of garbage. My work brings a new life to the materials (sometimes very beautiful) which are already forgotten and thrown away. These materials serve as signifiers of relationship and connections we have with the world around us.

Was there a certain point in time that you became more aware/self-conscious of climate change/sustainability issues?

Awareness of climate change/sustainability issues grew gradually for me. Just as these changes gradually increased. The development of the internet and thus the ease of access to various sources information has greatly accelerated this process. Then a few years ago I came up with a project whose element was snowfall. That for its implementation I had to wait a few years (compared to usual) clearly shows the impact of climate change.

In everyday life, the presence of brazen advertising forces one to think about the nature of global economic systems and their 'growth at all costs' paradigm. It makes one think: just when did greed stop being a cardinal sin?

Do you think artists have a responsibility to respond to these issues? Why/Why not?

Thanks to their intuition, artists often see problems that the rest of the society does has not yet noticed. Often, they act accordingly. Hence telling them what should be a topic of their art is remiss.

On the one hand, of all human activity, art is particularly environmentally harmless. It's not like mass production. It's about sharing ideas, not material things. It doesn't need a huge amount of non-renewable raw materials, transport, logistics, broad and aggressive advertising campaigns. Artists should just follow their own way and be honest with their research.

On the other hand, there is the incredible growth of the global art market. Just think about all those art fairs and its carbon footprint. Artists should consider if they really need to participate. Especially when I'm not convinced this benefits the artist in any way.

'Latent voice', since 2015, site-specific, strings & rivers, links to recording selection (see below and Vimeo)

Using the principle of aeolian harp I got sound representing the subcutaneous / hidden / deviously creative power of flowing water. The sound is soft enough to be inaudible more than a few meters from the river, and loud enough to hear every infinite detail when the ear is close to the receptor. This will allow you to establish intimate contact with the elements - strings can be touched, and the vibrations are felt and heard.

Why I’m running an Artist’s Way group and why you might like to join

by Rachel

When I was nineteen or twenty, I discovered The Artist’s Way, the famous book by Julia Cameron. I can’t remember exactly how, whether I’d heard of it or simply stumbled upon it at the library. What I do remember is how much it changed my perspective on life. I was studying photography at the time and I would read the book in my breaks while lying in the green grass outside the TAFE building (TAFE = Australian college). I remember putting the book down one day and looking up at the blue sky and feeling an astonishing sense of wonder at just how beautiful life can be. The blue of the sky that day and the wonder I felt is still impressed in my memory.

Fast forward sixteen years and I’m living in Berlin, working as a coach for artists and creatives, I’m a trained art therapist and I’m still a photographer. I can wholeheartedly say the Artist’s Way changed the direction of my life.

The Artist's Way showed me ways to connect with my innermost thoughts and feelings, stay connected to an artistic spirit in a world wants you to fit in with what’s ‚productive’ and it helped me to deal with a savage inner-critic. It showed me perspectives on life that were not tainted by cynicism or irony.

A lot of people say they find The Artist’s Way hard to go through for various reasons, in particular, the esoteric language can be off-putting. The amount of exercises offered per week on top of the compulsory artist date and morning pages can make the full twelve weeks seem difficult to achieve.

However, I can tell you from my experience, it’s worth doing.

Why?

The Artist’s Way provides you with a framework and guidelines in terms of time, space and direction in which to cultivate parts of your self that are undernourished but that whisper to you in quiet moments. It's possible they yell at you.

Perhaps, not listening to these whispers makes you feel guilty, or lonely, or unfulfilled. You have a sense that something exists inside you that wants to come out but you haven’t given it the space it needs yet.

The Artist's Way facilitates that thing or those things coming out.

By offering an Artist’s Way group this winter I’d like to support you and others like you whatever creative impulses are stirring within you to emerge.

What’s different about this group:

I will show you how to use art-making itself as a way to connect with your inner creative impulses.

As an art therapist I have seen, with wonder, how image-making combined with intelligent and compassionate reflection processes can bypass over-thinking and surprise the creator with a sudden new insight about their life.

Therefore, we will sometimes use art-making instead of writing to respond to the exercises.

We will keep it simple. We will focus only one to three exercises per week and aim to go deeper instead of doing too many.

We will skip the esoteric language. Bring your own sense of existential intelligence or spirituality with you or you can cultivate what those terms mean to you throughout the program.

You will want to participate in this group if:

you have an artistic and creative impulse whispering in you (or blatantly yelling) and you think it’s time to give that side of you more space.
you’ve already thought about doing The Artist’s Way but have found it hard to commit for whatever reason.
you’ve completed The Artist’s Way already and loved it and want to explore the topics by taking them a layer deeper this time.
you’re confused about what to do with your life next and would like a nurturing and encouraging creative space gain clarity on that.
you want something soul nourishing to do over the winter months in Berlin.
you’re curious to learn more about using art-making as an insight process.

Why would you want to pay for a group when you could do it on your own?

A few reasons:

in this group I’m offering a modernised and artful approach to the book, it’s not just going through the book. We’re taking the core themes from each week and digging a bit deeper using techniques I’ve learned from art therapy rather than taking a scattergun approach to doing the exercises.
having an experienced facilitator helps the group stay on track, provides moderation and ensures that everything is well organised.
Sharing your experiences with others, being witnessed and heard is powerful. It makes you stronger. It makes us stronger.
Hearing the experiences of other participants helps you too.
Commitment and accountability. No creative u-turns this time.

It begins Tuesday November 12th, 7-9pm at KLL Studio in Berlin (near U-Bernauer Strasse). It runs for 12 weeks with a break in the middle for the holiday season.

Places are limited and bookings are essential.

Full details, dates and pricing options can be found on the website here: http://www.thegreatcreativelife.com/the-artists-way-berlin/

For questions, please don’t hesitate to ask me!

If you know someone else that would love this group experience - please forward this to them.

Yours,

Rachel

Future of Art Interview: Moe Murdock

by Rachel

Our next artist is Moe Murdock. Moe Murdock is a painter working primarily in the digital realms. He lives and works in Jersey city, USA.

"Greetings from Norway", 2019, digital artwork.

Tell us about your art. What do you create and why?

I always struggle to describe what my work is and what I like to paint. The best description would be that I’m a surrealist painter that likes to add oddities or points of curiosity to my work. Or rather a lot of my work borders on the surrealist end, but that all depends on how I am feeling or the idea that pops in my head. Sometimes I just like to paint flowers or something simple like clouds. It depends on the vibe I get from the object or image plus my mood.

How long have you been practicing as an artist?

I have always been artistic, the artist in the group or the “class artist” growing up. As of my adult life I would say I’ve been working at honing my craft for the past 20 years (wow!).

Have the topics of climate change and/or sustainability affected your artistic practice either directly or indirectly?

As far as the things that drive me to create work, “no”. However, growing up we were always taught the values of not wasting things (food, materials, time) because those things are precious. Those values have stayed with me as part of my adult life. Working as a digital artist came easier to me than traditional and the by-product of not wasting materials and working virtually is an added bonus.

Was there a certain point in time that you became more aware/self-conscious of climate change/sustainability issues?

When I first started taking art seriously in my 20’s one of the things that I was most concerned about was selling at shows, and comic cons and events and making money.

I worked on several pieces, picked the best one that I thought would sell and made a bunch of glossy prints to sell at said show. The goal being to sell all of them and make my money back and even a little profit. After 8 hours at whatever show or convention [- sometimes 16 hours--- if the event was over 2 days], I wouldn’t sell a thing. I’d come home with all of the print merchandise that I left with. So all that paper and material that I used is just sitting on a shelf or closet someplace, wasted.

I have since stopped doing conventions and events and printing up work to try and sell.

Not so much because of discouragement, but more because it’s honestly too much material to waste. Now I am a strictly digital artist. I carry a mini sketchbook around for ideas. However, I don’t make prints and I don’t work on easels or use paint tubes.

This is not to disparage people that do. For me I feel better about my work only living in the digital medium from a waste and resource standpoint. I even bought a projector to show work digitally when I get the opportunity instead of printing up large scale sized pieces. This is to avoid the inevitable clutter or trash that would go in the closet after the show or event is over. I have been going this minimal route for years and I have felt better about doing my part to keep the materials out of the landfill.

Have you reduced your carbon footprint in your professional practice in any way over the last few years. If so, how?

I try to be really mindful of how I live and how it impacts materials and the environment. I use and reuse materials as much as I can. Aside from working digitally, I also reuse any paper that I can so as not to create more clutter (when I do work traditionally).

Small things like that, don’t seem major, but are my small way of contributing which might have some impact over the long run.

Do you think artists have a responsibility to respond to these issues? Why/Why not?

I think that artists have a responsibility to share their point of view with the world. However, if they have a strong point of view on sustainability and environment then yes absolutely they should. Not only that, but if there is also a way for that artist to make their work live and breathe and directly engage the public through live events and engaging installations and street art, then so much the better. There are ways that I have seen artists try to address this concern both in their work and in the materials that they use (eg. making work that is only sourced from recycled materials, etc.). I recently saw a street artist create a series of sustainable wall murals that will be recycled once taken down. The short answer is I don’t know if there is an answer. However for me, going fully digital has been my way to contribute to the solution and maybe that is a first step.

Future of Art Interview: Katya Fialka

by Rachel

Our next artist is Katya Fialka. Katya Fialka was born in Moscow, Russia, and grew up in New York City. She practiced looking and drawing at the Metropolitan Museum of Art with Randy Williams and studied painting at Vassar College in Poughkeepsie, NY. Katya lives and works in Berlin.

Grazing, graphite on paper, 70 cm x 100 cm, 2013

Tell us about your art. What do you create and why?

I make drawings, paintings, and things in between. My work has been described as “dystopian landscapes”: broken highways with crumbling bridges, burning fields, factories abandoned to nature, floods.

I have a lot of interests; some of them are things I find wondrous (like how trees communicate with each other) and some are things I find infuriating or frightening (like mass surveillance, or the climate emergency). Often these topics make it into my work.

Airport, graphite on paper, 60 cm x 112 cm, 2012

How long have you been practicing as an artist?

I have been drawing since I can remember. I don’t remember a division between “I’m making a drawing” and “Now I’m a practicing artist.” I have been making stuff the whole time all the same.

Dome, acrylic and graphite on paper, 50 cm x 65 cm, 2019

Was there a certain point in time that you became more aware/self-conscious of climate change/sustainability issues?

I was aware of these issues since I was a kid. Global warming and the hole in the ozone layer were in the news back then, and people were talking about greenhouse gases and CFCs. Even back then I worried about rainforest destruction, made drawings of us kids coughing in clouds of air pollution, wrote letters to the President, things like that.

In recent years I read ever increasing reports by climate and conservation scientists, and it is fucking frightening. Terrified by what I was reading and frustrated by political inaction, I decided to become more involved in climate activism.

How have the topics of climate change and/or sustainability affected your artistic practice either directly or indirectly?

I usually work intuitively. While there are definite themes and interests, I don’t know what the final result of a piece will be when I start. I like being surprised by what I’m making. That said, the catastrophic effects of climate heating have been a thread through much of my work for years.

In the current series I’m working on, Flooding, the climate crisis was the conscious starting point.

Flooding, one, acrylic and graphite on canvas, 100 cm x 220 cm, 2019

Flooding, two, acrylic and graphite on canvas, 100 cm x 220 cm, 2019

Have you reduced your carbon footprint in your professional practice in any way over the last few years?

I like working with basic artistic materials; the materials I used as a child: pencil, paper, ink, acrylics, etc. I stopped using oil paints and solvents a long time ago, for health and environmental reasons. I like the challenge of making something interesting from just pencil on some paper.

Untitled (from the Landscape Surveillance series), ink and graphite on paper 50 cm x 65 cm 2018

Do you think artists have a responsibility to respond to these issues?

In our personal lives, I think yes. This is an emergency and we need to put pressure on our leaders to act, literally right now.

But do artists have a responsibility to address these issues in their artwork? Thematically at least, definitely not. I was born in the Soviet Union, so that may be why I’m very wary of any prescriptions about what artists ‘should’ be making or doing.

Art, on its own, ends up sparking conversations about a huge range of topics, and pushes people to confront things that they maybe otherwise wouldn’t. It shows us different ways of seeing and thinking. Art is mysterious, ambiguous, uncomfortable; it makes us question our certainty.

Untitled, ink, graphite, acrylic on paper, 2018

The Future of Art Interview: Katharina Forster

by Rachel

Our next artist is Katharina Forster. Katharina Forster is a German artist who studied at the Ruth Prowse School of Art in Cape Town, South Africa. Her work spans the fields of installation, sculpture and participative works. She now lives and works in Werder (Havel), just outside Berlin.

Tell us about your art. What do you create and why?

I create sculptures and installations from different, often found and used materials. The works I create are for exhibitions and public art events as well as for artlovers and collectors.
The topics evolve around the complex themes of human interactions with one another as well as their environment. I share experiences, thoughts and observations on the diversity of our world today through the choice of materials, the finished form and the way of making.

My inspiration is found through close observation of the people around me, current news in print and online media, as well as through travels and from being a parent.

How long have you been practicing as an artist?

For more than 10 years now.

How have the topics of climate change and/or sustainability affected your artistic practice either directly or indirectly?

Although this topic has not been my driving force as an artist, many of my sculptures relate indirectly to the topics of sustainability as I frequently use found or discarded materials.

There was also an article by Hanno Rauterberg which struck a cord when he stated that artists are polluting with all their unseen artworks*.

Rauterberg likes to make bold statements and this one definitely stuck with me and influenced my art-making directly.

Was there a certain point in time that you became more aware/self-conscious of climate change/sustainability issues?

I guess I have been brought up already aware of being a conscious consumer which definitely had a lasting effect on me.

When I lived abroad in the global south and had to change my euro-centric point of view, things also started to shift. At that time my partner studied economics and was interested in alternatives which broadened our understanding of what is possible.

Another aspect involved in doing one’s best to live a more sustainable life, is the step of becoming a parent. Apparently each baby wearing disposable diapers creates, on average, 3 tonnes of waste by the age of 3. It was definitely something we as parents had to think about in order to make an informed decision.

Have you reduced your carbon footprint in your professional practice in any way over the last few years. If so, how?

In my art practice I am reluctant to buy things new if I can get them secondhand somewhere else. This is applicable in my private life too. There is a certain reluctance towards the thought of how many things are made and sold new. Is there really a need for all that?

Let's look at the teabags I work with: I could just go and buy them in bulk, soak and dry them but I prefer to ask people to keep their used teabags for me. When I started my first big sculpture (Integrity) I asked a nearby old-age home to collect their used teabags for me. In this way I received almost more teabags than I could use, which would have otherwise been thrown away.

Do you think artists have a responsibility to respond to these issues? Why/Why not?

No, I don't think artists have any more responsibility than anyone else. Climate change or sustainability issues are a matter for everybody who can make a difference. If artists make these issues part of their work, I hope it’s solely by their own choice. Some of those works are of striking significance. Personally, I don't mind if people think of those issues when looking at my work, even if my focus was different.

The Future of Art Interview: Adrienn Ujhazi

by Rachel

Our next artist is Adrienn Ujhazi. Based in Novi Sad in Serbia, Ujhazi focuses her interdisciplinary practice on ecological and bio art practices.

Research and experimentation are her foundations. Installations, videos, objects and ready-mades are the final forms.

She appropriates natural materials, transforming them with minimal intervention in order to create the final results of her work. Videography and photography are necessary parts of her work, allowing her to document the entire artistic process.

Tell us about your art. What led you to artistic practice and what do you create?

The drive to do artistic research came to me intuitively and naturally. My inspiration originates from my childhood. I was influenced by my grandmothers (one was a tailor, the other one is a housewife with a broad knowledge of gardening).

My plan was to expand my creativity using unconventional materials, organic shapes, textures, and to present them to the public in a unique way. As the years passed, my work developed in the direction of abstraction, but at the same time it keeps reminding me of the micro-world of biodiversity.

One of the first natural materials I chose for my work was wheat. It is a historical symbol and a basic nutritional source. Therefore, I emphasize it's importance to humankind through different time periods. My opinion is that in the near future, because of our environment, we will eager to use only Bio products in our everyday lives.

By appropriating nature, I am promoting aesthetic and poetic expressions that boost a conscious relationship between humans and nature. As an interdisciplinary artist, I let the various fields I work in flow into one visual and aesthetic whole.

My new project, that I am completing for my master studies, is closely connected to this theme. I am researching a new organic material, a scoby-fungus that develops from fermented (black) tea.

The name of this series is "BIOPHILIA". Biophilia aims to show the instinctive connection of humans with all living systems. The second part of the Biophilia project is situated within the field of applied arts. I created my first scoby hat, which is a 100% sustainable, eco-friendly and zero waste material. I have had positive results and received positive feedback for this project and I am looking forward to possible collaborations with other people involved in this field.

Have the topics of climate change and/or sustainability affected your artistic practice either directly or indirectly?

As a young artist from Serbia, I am constantly following the foreign artistic scenes, especially the ones originating from northern european countries. Bio art is my field in the fine art practices, which has developed significantly during the first and second decade in the 21^st century. Bio design, organic and sustainable art practices are now going viral, because of the environmental issues we face.

As I observe our circumstances and how art reflects our society, I have come to the conclusion that bio art will soon be the leading field in contemporary art practices. Soon we won't be able to ignore the nature we destroyed - our environment. Everybody will feel it in some way, but by then, it will be too late to act.

Worldwide there are universities, residencies, workshops etc. whose concepts are based on building bridges and connecting bio-organic art and design with science and technology. There are people who are working very hard with good will and compassion to find new solutions. Sometimes we need to go back to the beginning to get a clear view of everything.

Have you reduced your carbon footprint in your professional practice in any way over the last few years. If so, how?

My main motivation is to experiment with technical resources. My curiosity lead me to this field, to create something which is of good quality and causes less damage to the environment. That is why I turned towards organic materials. My opinion is that artists have their free choice to show that there is a chance for a better future. Feeding the current negative mindset is not going to change anything, it will only increase fear and anger. In some cases artworks are, and have to be, brutal and honest, to get people shocked or to question themselves. In that case the product should also be compatible with a low carbon footprint.

Do you think artists have a responsibility to respond to these issues? Why/Why not?

In social life, the artist's role has always been important. Social media has provided a platform for artists to develop themselves regardless of where they live. Now they have the opportunity to say something with their creations. Recently, there have been many social media artists who work only for aesthetics, which is also acceptable, but it should not be their main drive. Art has to seduce and educate people, not to be invisible and passed by.

For me, as an artist, I'm eager to create and share my creative perspective by accentuating the biggest global issue, which is our environment.

Protected: Future of Art Interview: Katya Fialkova

by Rachel

A Child’s Silent Dreams

Beginning My Creative Journey With Small Steps

Manifesting Dreams and Releasing My Debut EP

Autodidact Learning and Gaining Confidence

Overcoming Comparison and Perfectionism

Prioritizing in Self-Directed Learning

Balancing Multiple Passions

The Impact of Environment Change on Self-Development

Self-Acceptance and Adapting a Growth Mindset

Facing Fears and Insecurities

First Time Busking and Facing Fear of Performance

Values and Goals Awareness

Positive Feedback Loops

Key Takeaways

A Quick But Important Neuroscience Recap

Tips For Reducing Anxiety

Your Anxiety Reduction Toolkit

1. Breathing exercises

2. Notice the present moment

3. Lie on your back with your legs up the wall for to five to fifteen minutes

6. Massage

7. Meditate using art

8. Repeat and/or write mantras

9. Dance it out

10. Progressive Muscle Relaxation

11. Run cold water over your wrists

Your Ongoing Nervous System Care Toolkit

Activities for good nervous system care are:

Reduce pressure on your nervous system

Key Takeaway

What are your favourite calming activities? Comment below and please share this article with anyone who might find it helpful.

Tell us about your art. What do you create and why?

How long have you been practicing as an artist?

How have the topics of climate change and/or sustainability affected your artistic practice either directly or indirectly?

Was there a certain point in time that you became more aware/self-conscious of climate change/sustainability issues?

Have you reduced your carbon footprint in your professional practice in any way over the last few years. If so, how?

Do you think artists have a responsibility to respond to these issues? Why/Why not?

Is there anything else you would like to add on this topic?

Where can people find more of your work?

Tell us about your art. What do you create and why?

How long have you been practicing as an artist?

How have the topics of climate change and/or sustainability affected your artistic practice either directly or indirectly?

Have you reduced your carbon footprint in your professional practice in any way over the last few years. If so, how?

Was there a certain point in time that you became more aware/self-conscious of climate change/sustainability issues?

Do you think artists have a responsibility to respond to these issues? Why/Why not?

Where can people find more of your work?

Why?

What’s different about this group:

You will want to participate in this group if:

Why would you want to pay for a group when you could do it on your own?

Tell us about your art. What do you create and why?

How long have you been practicing as an artist?

Have the topics of climate change and/or sustainability affected your artistic practice either directly or indirectly?

Was there a certain point in time that you became more aware/self-conscious of climate change/sustainability issues?

Have you reduced your carbon footprint in your professional practice in any way over the last few years. If so, how?

Do you think artists have a responsibility to respond to these issues? Why/Why not?

Is there anything else you would like to add on this topic?

Where can people find more of your work?

Tell us about your art. What do you create and why?

How long have you been practicing as an artist?

Was there a certain point in time that you became more aware/self-conscious of climate change/sustainability issues?

How have the topics of climate change and/or sustainability affected your artistic practice either directly or indirectly?

Have you reduced your carbon footprint in your professional practice in any way over the last few years?

Do you think artists have a responsibility to respond to these issues?

Where can people find more of your work?

Tell us about your art. What do you create and why?

How long have you been practicing as an artist?

How have the topics of climate change and/or sustainability affected your artistic practice either directly or indirectly?

Was there a certain point in time that you became more aware/self-conscious of climate change/sustainability issues?

Have you reduced your carbon footprint in your professional practice in any way over the last few years. If so, how?

Do you think artists have a responsibility to respond to these issues? Why/Why not?

Is there anything else you would like to add on this topic?

Where can people find more of your work?

Tell us about your art. What led you to artistic practice and what do you create?

Have the topics of climate change and/or sustainability affected your artistic practice either directly or indirectly?

Have you reduced your carbon footprint in your professional practice in any way over the last few years. If so, how?

Do you think artists have a responsibility to respond to these issues? Why/Why not?

Where can people find more of your work?