Creativity Through Nature E-Book

Ann Blockley

• Herausgeber: Batsford
• Kategorie: Geisteswissenschaft
• Sprache: Englisch

Seitenzahl: 143

Veröffentlichungsjahr: 2021

Beschreibung

 A passionate and purposeful book on finding real creativity through nature.  An essential book for our times and all artists at whatever level. In her most passionate and personal book to date, acclaimed watercolour artist Ann Blockley takes both budding and more experienced artists through a series of ideas for working with nature – in its widest sense – to nurture our creativity, inspire us, make us more sustainable artists, and replenish energy and flow when our artistic streams run dry. In 'Go Outside and Play', the author exhorts artists to recapture a fun, no-pressure way of being outside and use that feeling when creating. In 'Connecting Materials to Place' she creates her own paint from the local pond. In 'The Slow Movement', the artist reveals her year of working on a specific local hedgerow and painting a series of different interpretation in its every-changing detail. She created regular creative rituals, using her weekly playing card as a starting point for a new painting to reflect the season each week. She reuses old paintings, and tissue and paper – wabi-sabi style – to create new textures and even new paintings.  Including work from other artists as well as her own, she shows the ideas and work from textile and mixed-media artists.  From allotment inspiration to reusing old painting and from nature prints to the alchemy of found materials, this is a journey to find new creativity through our connection with our natural world. 

Leseprobe

Foxgloves and Cow ParsleyWatercolour.

Contents

Foreword

Introduction

Nature is good for you

Connecting with nature

Responsible art-making

Rewilding your creativity

Conclusion

Resources

Bibliography

Index

Acknowledgements

In the PinkWatercolour and ink collage.

Foreword

We are increasingly disconnected from nature. We live on a planet that is under threat due to our own casual disregard for and disrespect towards it. We largely live in an urban, technology-based world, governed by rules and boundaries. Our need for economic progress drives us to want ‘more’ of everything, to have our goods ‘ready-made’, ‘convenient’ and’ fast’. ‘Art’ has become a commodity – another interior-design trapping, an increasingly product-based activity and cog in the commercial rat race. Bombarded with imagery on the internet and social media, we have become stressed and bewildered by choice, competitive, hierarchal and in danger of losing sight of ‘Art for art’s sake’. We ‘share, compare and despair’ but are more isolated in this time of sophisticated communication than ever before. Is it any wonder that so many artists struggle to be creative when we live under such pressure, in such an unnatural way – as we quickly destroy the environment and eco–system, whose complexity and beauty we are a part of?

I am writing this at a defining moment in our time. I have not left the house for weeks and outside the Covid 19 pandemic is raging. It is scary. When the idea for this book was conceived, we had no concept of what lay ahead. I was concerned at the time about the crisis facing the health and future of our planet and the fact that, in most of the world, 21st-century living was beneficial neither to nature nor to nourishing a creative life. I wanted to comment on this with a view to how artists might reassess their contribution, values and priorities. Little did I know when I started, that many of the discussions I planned would become so painfully pertinent to the situation that has developed. I did not know that many people would be told not to leave their houses; only able to communicate to each other through technology. However, during this period, positive changes have emerged. Changes in how artists are connecting with and supporting each other. There are acts of kindness, giving and sharing. There is a rediscovery of the earth beneath our feet. We are finding beauty in the everyday, ‘making do and mend’, going back to living in more sustainable ways, being creative and valuing nature, family and friends above wealth and productivity. I do not know, as I write this, what the world will be like when this book is published. My hope is that by the time you read this, we will be back to a ‘new normal’ but continuing to build on some of the lessons we started to relearn during this time.

July 2020

Blackberry HedgerowWatercolour and ink using hedgerow materials for mark-making.

Teasels and RosehipsWatercolour and inks, using wild rose leaves for mark-making.

Introduction

This book explores whether an immersion in nature might help stimulate or re-engage artists in their creative process and help alleviate negative artist’s blocks. It also looks at a variety of more organic and possibly more sustainable practices and mediums. Nature is not simply a picturesque subject; it is wild, even uncomfortable, but also has the potential to rejuvenate and fill our senses with wonder and delight. Being connected with nature extends far beyond the visual, and the book is not only concerned with finding different ways to record nature but also how to ‘be’ in a more natural way. It is not just about using watercolour; it is a holistic approach to encourage an art-making lifestyle that flows from a first-hand knowledge of the natural world, using mediums that are more friendly to that world. We will explore how drawing closer to our primal roots can be beneficial to ourselves, our art and our environment.

I want to delve into a darker, earthier kind of nature and establish more grounded connections with place. I have included many of my usual subjects such as hedgerows, landscapes and woodlands but, as the planet succumbs to increasingly frightening events, it felt appropriate to confront the very elements of nature too. We will adventure into the rituals, myths and magic that are becoming alien to us and invoke enchantment, a childish outlook or a beginner’s mind. Let’s feel the dirt under our fingernails; go back in time to our foraging and gathering heritage. Let the guiding principle be to enjoy the process and intrinsic values of being creative within all areas of our lives, rather than concentrating on an end product. We will explore how we can create in alternative ways with a particular emphasis on found materials, reducing, reusing and recycling. Ephemeral and conceptual ways of working will also be looked at.

If we are mindful of what is happening in nature, it is likely to ‘give back’ to us in immeasurable ways, nurturing our creativity, inspiring us and breathing back ‘flow’ when our artistic stream runs dry.

‘Deep in the forest there’s an unexpected clearing that can be reached only by someone who has lost his way.’

– Tomas Tranströmer

The story of a book unfolds

Quite recently, I thought I had reached the end of the road as an artist. I questioned whether I wanted to continue painting and was certain that I had written my final book. I felt that I had nothing left to say. But gradually, the bud of an idea formed and grew until my thinking blossomed. Some thoughts flourished while others withered, but once the main concept properly took root, within just two seasons my world had turned. I was excited to recognize being at the start of an adventure that was personally life-changing and realized that my ideas might resonate with other artists. This book is the fruit of my discoveries and my way of spreading these fertile seeds of thought about a different way to be an artist in the modern world. I have shared stories about how I have coped with and reacted to fears and situations that have affected my own creativity. I hope this personal chronicle will give you positive thoughts for moving forward with your own creative narrative. If the book is too autobiographical, I make no apologies. The only thing that I am truly an expert in is being myself and only by speaking from this personal position could there be strength and authenticity behind my words.

A few years ago, I had breast cancer. It is a common disease but it was a devastating time and I felt as though I was no longer ‘me’. I remember returning from hospital one desperate day and sitting under our magnolia tree. As I looked around our magical garden, I felt the warm sun on my back, heard the blackbird singing his tune and watched the flowers starting to unfurl. I remember thinking, ‘Life goes on. Nature continues and – as a part of nature – so can I.’ I proceeded to hurl myself into a creative frenzy with my book Experimental Landscapes about to be published and an exhibition to launch it. I forged forwards with my plans and was thrilled by their success. However, when the excitement abated, I crashed. I felt depleted and the following years were an emotional rollercoaster. I stayed in my studio, determined to push through, obsessing about my health, becoming disconnected from my garden, the countryside and other artists. I hated working outside. It was uncomfortable and I never produced anything ‘worthwhile’. I was uncertain of what path to follow in my work and worried that if I changed direction, I would lose my followers – you. I was not unfamiliar with artist’s block – I had been through times of self-doubt before – but this time I felt completely caged in by . . . what? Fear of failure? Fear of matching up to previous success? I decided to research the subject and could relate to all I read. I was profoundly good at having artist’s block – I even had ‘A Block’ in my name! I wondered whether I could write about the subject using my personal experiences as an example.

The Old Apple TreeHandmade paint using raw pigment on photographic collage.

My creativity was still too blocked to proceed but now that I had something to focus on I relaxed and thought more clearly. How ungrateful I had become when I was lucky to be alive. I resolved to be more thankful, enjoy each day and work more outside again. During this ‘back to nature’ period, I received an unexpected email from my publisher: ‘Had I thought about doing a book on a nature theme?’ This is my favourite subject but I was still attached to my artist’s block! I was not sure I wanted to let go of it until I saw that the two ideas were connected. I recalled my day under the magnolia tree and realized that I was now happier and more creative since I had engaged with nature again and actively confronted my creative gremlins. I decided to link the two ideas: Creativity through nature.

In harmony with nature

While I was obsessing about the future of my art there was an abrupt escalation of media stories about the future of our struggling planet: frightening news about the relentless output of plastic into the oceans. I was catapulted into an awareness of the issues hitting the headlines. Although the warnings had been there before, I had paid scant attention to the litany of apocalyptic catastrophes that are now uncomfortably familiar: global warming, glaciers melting, deserts spreading, forests shrinking, toxic waste, wildlife extinction, wildfires and floods, storms and plague. All this with the sting in the tail – that much of it has probably been caused by human consumerism and global capitalist systems. We have reduced the Earth’s wild places, squeezed out native species and put pressure on natural resources.

The human race has entered the twilight of its long-held assumptions. The realization has suddenly gathered momentum that the relentless march of ‘progress’ is not without cost. The health of humanity relies on a healthy environment, not on economic growth – or at least we need to find a balance. In an era dazzled by digital wizardry we lost touch with the magic of the natural world and became alienated from the Nature that we are a fundamental part of. For convenience, I use the phrase ‘connect with nature’ throughout this book but, of course, we are part of nature ourselves. We got into the habit of thinking that humans reign supreme and that the rest of the planet is primarily a resource for our use. Our arrogance has backfired.

But what does this have to do with artists? Facing such a magnitude of problems, it is tempting to take a ‘what’s the point?’ attitude. What chance does the individual have to help create change? Most of us have no skills to make sense of the mess and, as we feel the consequences, it is hard not to blame others or feel despondent. However, my belief is that art and culture have positive roles to play and I proceeded with what I felt was the right thing to do. I assessed how and what I was using in my art practice to see if I could work in a more sustainable or, at least, more responsible way, which also felt appropriate for an artist immersed in nature themes. I have never been politically or environmentally active but I urgently wanted to make a contribution, however small, to raising awareness about the crisis facing us. All I was qualified to do was take charge of how I behaved within the art world and tell anyone that would listen, in the hope that it would encourage them to follow suit and add an extra focus to creative life at a difficult time on Earth.

The bigger message for my book had revealed itself at last. Connecting with nature helps us creatively but we need to give back by acting in a much more responsible way. Spend more time in nature and less on buying goods. The more I live in harmony with nature, as closely as is realistically possible in the 21st century, the more I feel my troubles fall away, my creativity flows and time slows down, leaving no room for dark clouds of thought. My love of nature, and being aware of its capacity for healing, has helped me through tough times – physically, mentally and creatively. I hope my stories will resonate with you to offer hope and inspiration for your own natural and creative future.

‘Words and images can change minds, hearts, even the course of history. Their makers shape the stories people carry through their lives, unearth old ones and breathe them back to life, add new twists, point to unexpected endings.’

– From Uncivilization: The Dark Mountain Manifesto by Paul Kingsnorth and Dougald Hine

The artist’s role

From East to West; from Aboriginal art to Art Nouveau; the implied message from many groups of artists has been to celebrate and cherish the Earth. The ‘Romantics’ were a group of nineteenth-century English poets who meditated on the complex relationships between humankind and nature. It was a response to the disconnection from nature precipitated by industrialization; for William Wordsworth and his followers, poetry was a route to reconnect with it. This great tradition of nature in art extends back to painted imagery on the walls of prehistoric caves, utilizing available materials; intimately connecting to the environment. Art–making is a fundamental primeval impulse and some of these first images were celebrations of natural cycles that reinforced our sense of wholeness. Ancient cultures held chaos together through music, dance, story-telling and art. Today we have television, theatre and social media. Most of us watch rather than participate and neglect our primal bond with nature. I believe it is time to revisit some of the old ways of imagination and communication.

Artists can create cultural metamorphosis. We transmit messages that reflect society. A piece of art has the ability to have an impact on people and potentially change their behaviour. I use the term ‘art’ as a threading together of its many manifestations and genres, ignoring labels of art or craft and including painters, musicians, poets and potters, creators and makers, dreamers and weavers. Cultural products do not just mirror the prevailing culture – they also help shape it. The creative world has the power to send messages to the forefront of conversations that evoke curiosity and concern; the message that nature is worth paying attention to and needs our care and respect.

Environmental artists have long been sending out such messages using recycled or natural materials to celebrate their connection with nature or highlight environmental issues. The British artist and environmentalist Andy Goldsworthy makes ephemeral outdoor installations using sticks, stones, coloured leaves, flowers and other natural materials to reflect on nature and the passage of time. In contemporary art we are seeing cutting-edge technology being employed to engage with forces such as wind, water and sunlight. Digital forests and chunks of ice from a melting glacier have been displayed as sculpture. The list grows, and as the public have, in general, become more environmentally conscious, the audience for this kind of art is expanding. You may think that these ‘alternative’ styles of expression do not have any relevance to your own practice, and I am not suggesting that we shift rock or glacier. However, in our own, perhaps more domestic ways, we can still express powerful messages. We can be harbingers of hope to help lift the spirits of our global community. Art is a personal response but it is also universal. If we each take small pieces of action they might, like a communal patchwork made from scraps, build something bigger that is also beautiful. As each individual creates, shares and reassesses, the greater force of ‘the collective consciousness’ becomes a reality and we can reaffirm it by living in ways that reflect this. Our contribution is to keep our creativity healthy and grounded, not just for ourselves, but so that we are better placed to spread awareness about what is becoming the modern un-natural world.

The Sea is DrowningCollage incorporating waste materials and coral.

Plenty More Plastic in the SeaCollage, incorporating broken shells and plastic, on watercolour textured with detergent.

Creative roots

If I was going to raise my voice effectively about the value of nature, and sow messages about how it can help our connection with the Earth, each other and our creativity, I needed to weed out some of my own limiting negative beliefs and fears; prune and cut away the rubbish. Why was I still listening to what I called my gremlins – that negative inner voice that queries every