Search results for: “sketchbook”

  • Blogging is my sketchbook: reflecting on the creative process and open practice

    Line drawing of a sketchbook
    ‘Sketchbook’ – daily drawing from 21 Jan 2019

    When I was a young teenager, I asked my parents for a (mechanical) typewriter for my birthday so that I could type my journal, plays and poetry – on coloured paper mostly. I didn’t have the internet.

    When I was an art student, my sketchbooks had pockets, windows, some smelled of strange colours or oils I had tried out, some trailed plaster dust or were covered with fabric. I also had a blog filled with all of these things (no longer accessible).

    When I was writing my thesis I had binders full of flyers, photos, product samples, stories, interviews and even dried plants. I also had a blog: now the cemeteryscapes archives.

    Now, I have a private blog, notebooks of daily drawings, archive boxes of things I collect for inspiration, thousands of images, cups filled with stickers and badges, many places where I write and reflect and thanks to Reclaim Hosting I have my own domain. This blog.

    This is the tip of the iceberg of the messy, constant creative process that is the way I think and work. It includes images and drawings and slide decks and links to things and stories and conversations and my portfolio of professional practice. It also has many typos, personal anecdotes, moments of my life that I have chosen to share.

    Sometimes I write on other platforms, for my organisation, for academic purposes, to promote things, to provide commentary, to inform, to share… but usually all things I do end up at least linked to from my archive, if not backed up on this site. All together it constitutes part of my ‘sketchbook’, part of my practice, the most open part of my practice. What’s important to me is that it forms part of my process, through which I am prompted to reflect, to work out ideas, to develop my thinking and that I have a record of that.

    Having a record of my work is extremely useful when it comes to appraisal time, when I want to send a link to someone, when I need examples of things I have done. It also stops me from moving always forwards without looking back, without appreciating all that I have done, even if much of it is not polished, or finished or maybe even never sees the light of day. It includes mistakes and errors and things I’ve changed my mind about. I feel I have a measure of control, because it is my own platform.

    Curiosity and creativity are messy. My work is, too. Much of it is not productive, it doesn’t lead anywhere, it’s not for public consumption, for others. It’s for me. When I have a good idea in the shower or when I’m out for a run, sometimes that idea ends of being part of my work in a way that surfaces, but most of it isn’t. That doesn’t make it less important. It’s one of the things I learnt to appreciate at art school. To appreciate that I can’t always tell what may be useful to know or keep or read. To value distraction and diversions and the unexpected. Blogging can be part of that.

    You reading this now is a bonus.

    In my view, open practice isn’t primarily for others. When I write on my own blog, I don’t write with an audience in mind unless I am writing for a specific event, i.e. a keynote transcript for example. I take an informed decision to publish, because I want to. I want to share my practice, provide insight into what I do and to add my voice to how professional practice is articulated. I want to be visible. But it’s not for others. If no one reads this, and plenty of my posts have only a handful of readers, that is fine with me. It doesn’t make it a less valuable part of my practice. I am in a position of privilege, yes. In addition, I have the resources and skills to host my own domain to be able to do this, blog in this way. But in one way or another, this kind of writing has been part of my life for three decades, from typing onto the coloured pieces of A4 paper, leftovers from my mother’s disused work folders, to scribbling into sketchbooks to years worth of post-it notes that accumulated during my research student years.

    There is a famous quote by artist Rick Beerhorst about sketchbooks that describes well how I feel about blogging as part of my creative process: …”[Sketchbooks] help me stay free and, at the same time, help me get connected to the world around me in a deeper way”.

    An inspirational hour with Lorna Campbell on blogging as academic practice, which Lorna kindly facilitated for me and my colleagues inspired this blog post and I am deeply grateful to Lorna and all who’s blog posts inspire me on a daily basis. Thank you.

  • Curiosity and the cat

    Curiosity and the cat

    Last week I went to see Gwen John’s major retrospective, Strange Beauties at the National Museum in Cardiff:

    Gwen John: Strange Beauties is a once-in-a-generation exhibition, bringing together rarely seen works from Amgueddfa Cymru and collections from around the world to celebrate her 150th birthday. It is the first major collection of her work in over forty years. It tells Gwen’s story as it’s never been told before — revealing new ways of seeing her life and art and celebrating an artist whose vision still feels strikingly modern today.

    I am not always a big fan of exhibitions of portraits, which was up to recently the only type of work by Gwen John I was familiar with, so I was surprised how much I enjoyed and got from the exhibition. Thoughts and ideas have been percolating in my mind, exploring how what I saw in the exhibition relates to my work and why I found it so urgently relevant now. Here goes:

    Sketchbooks

    Sketchbooks are a recurring topic which I have blogged about before, and I was intrigued to see several sketchbooks on display in the exhibition. In keeping with the era in which John was active, most of these were tiny, smaller than a postcard size, and her drawings and sketches were correspondingly small, often no larger than the size of a sticker or even a stamp. And yet, the acute skill of observation pretty much jumped off the page. The drawings themselves were rough skteches, but what was captured, what was noticed, was astonishing.

    It got me thinking about how much a painter like Gwen John has to develop the ability to be present, to be observant and to be curious. To pay attention to the world around her in order to notice, in order to see and capture those subtle moments, a shift of the light, a curve of the neck, which later gets translated into paint. It’s a skillset that is becoming harder and harder to cultivate and maintain nowadays, and something that I often work on in my own practice and in my leadership coaching.

    When I was at art school, most of my tutorials were about me and my tutor looking through my sketchbooks from the past couple of weeks, discussing bits that stood out, or considering which ideas to develop more. In many ways those tutorials (and the formative assessment they provided) taught me to respect the process, to value my practice, as much or more than the eventual output, and that training continues to inform the way I work and my leadership practice still. Gwen John’s work was deeply inspiring in that respect and made me reflect how it’s something I work on again and again with emerging and even established leaders and teams, and a precious skillset well worth nurturing.

    Series

    One of the other things I found astonishing about the exhibition was the sheer quantity of artworks that the curators had brought together. Gwen John is not a famous enough artist that you see many rooms in general museums dedicated to her work, and her paintings are usually quite small in size, which makes them blend into a general collection rather than stand out, at least to the casual observer.

    However, in this exhibition there were rooms and rooms filled with her work, which often included paintings in a series all about the same or similar subjects. My favourite of these was a series of five paintings called “Convalescent Girl” which showed a young woman sitting with a book, in slightly varying poses, and with slightly different light or angles. The long contemplation of the same subject, and immersing one’s practice in it in order to observe “strange beauty” is where the exhibition finds it title.

    It probably doesn’t sound particularly amazing when you describe it like this, but it was incredible to see work develop, different shades, different light, a slightly different way for the hair to fall across the face and so on. It wasn’t that the earliest painting was just a sketch and the last one the final product. No, each of them brought something new or different to light, and each of them contributed to the overall series.

    It made me happy to see these series, and how much they articulated the curiosity at work. It takes a lot of practice to be that good at being curious, curious enough to want to explore something quotidian so deeply. It was incredibly calming to look at these series and relax into being curious myself.

    In a way that series of paintings, all of the same girl in more or less the same pose, is the opposite of how we meet images or information online, in an endless scroll of novelty and hooks designed to prompt us to click. This was the same image over and over, giving you permission to linger. Permission to slow down and just be present. Which is another skill I value highly.

    Cats

    I hadn’t come across Gwen John’s drawings of cats much before this exhibition, and there was a whole wall dedicated to them here: in a long line, one after the other, there were drawings of cats, sitting, lying, sleeping. Some in pencil or charcoal, others in watercolour. They were playful and messy and beautifully observed.

    They were also a lot of them and in the museum shop I saw a huge poster of just cat drawings including many that weren’t on display. Preserving those cat drawings, like the sketchbooks, gave you a different perspective to explore and reminded me of the effort many of us go to preserve our digital practice in our blogs, on our own domains, in archiving what we post and keeping track of how and when.

    Its a niche in the digital realm, to keep your own archive, and one that becomes more and more valuable over time as you can see patterns and build habits. One line drawing of cats alone wouldn’t be particularly interesting, but a whole collection of them, produced over a long period of time, and ranging across different media, that suddenly becomes something different.

    It’s interesting to me how much any one of these drawings would probably seem unremarkable, but a whole body of work coming together reflects a practice we can respect and revere. Just like a single blog post may not feel like it matters, especially if no one reads it, but a practice that grows over years and decades becomes a life’s work, becomes something to be proud of.

    I left feeling deeply inspired and hopeful, and with much food for thought for my own practice. Thank you, Gwen John.

    Image source: Gwen John drawing of a cat lying down

  • Having a Career

    Having a Career

    When I came across Kin Lane’s post Having a Career I felt inspired. His post prompted me to think about whether it’s worth having a career, and what that means, and if it matters. These words in particular chimed with me:

    However, now I see having a career is about me. It is about owning my own professional narrative as much as I possibly can. I consider a career adjacent to entrepreneurship or running your own business, but it is something that will span multiple businesses, and give you much more control over the work you do and the money you make. A career is about me. It isn’t some category on a college aptitude test. My career isn’t chosen for me. 

    Thanks to this inspiration, I’ve been trying to create a story about my career, and tried to make a drawing, too. That proved trickier than I had anticipated, because I started to plot my journey along a rough timeline that started in the mid 90s with summer jobs and somehow portrayed the next three decades as a linear progression. Which it wasn’t.

    Similar to Kin’s younger self, 17 year old me wanted no career. 17 year old me wanted to live a life which was authentically mine. I felt the world deeply as a young person, and it poured out of me in writing poetry, plays, novels, art, music and a lot of difficult behaviour. That I was academically able and got good grades made early adolescence easier, but eventually I outgrew my ability to fit into a regular school system. It must have been very difficult for my family and friends to make sense of my behaviour. It was very difficult to for me. I had no idea how to navigate life. Thanks for leaving school at an unconventional time, without sitting the traditional exams at 16 or at 18, I never ended up having career’s advice and made up my own instead.

    From that point on, my list of jobs started in earnest: I had every bar, cafe and restaurant job London’s service industry would offer a young immigrant with broken English. I graduated to working in bookshops, cinemas, shops, and eventually in bilingual marketing and market research. I had a job once that only paid me in tips (which took me months to realise. Once I did, I left with the whole tip jar after one very good Saturday night never to return).

    From 17 to 32 I mostly worked at whatever job I could to fund my education. Having left secondary school I discovered that there was a whole world of learning out there, and London, and later Athens, and even later Oxford, offered me every opportunity. Looking back it now seems implausible that I worked 40 hours and studied full-time as an undergraduate and later as a Masters stundet, but I loved it! Studying first design, then art and then anthropology allowed me to explore my curiousity and challenge my mind, spending days in the libraries and museums. I was lucky that I always managed to get scholarships to fund my fees (this being an era of education in which that was still possible).

    In 2004 life changed for 3 glorious years, thanks to a full AHRC PhD scholarship that enabled me to give up work. I recall the moment I found out exactly. I was on my way to work in a cafe in West London and picked up my post in the student hall where I had rented a room in for the summer. Gower Street was hot, noisy and there was no lift between my single room on the top floor (shared bathrooms) and the laundry room in the basement. I opened the letter on my way to the bus stop and right there and then, life changed. I resigned my job that day and that September I started to be a proper full-time student for the first time, with spare time to go to seminars and lectures in the evenings, and student bars, too, of course.

    It was during those years that I started working with more intention, finding jobs as a archive admin, then as a teaching assistant and as a Moodle admin at my university. As my funded years came to an end, job hunting to fund the final year of my PhD began again, and I found an admin role in a nearby university in Oxford. The deciding factor that convinced me to take the job was that I could walk to the office. Writing up my PhD in the Radcliffe Camera library sounds romantic, and it was certainly a lovely environment to work in, but it also came with a problem: I didn’t want to be an academic. My interest in my research topic had been genuine, but had been satisfied. It offered no clues as to what might be next, and so my admin summer job gradually turned into a manager role, which turned into a more senior manager role. As a side hustle I started to work as a researcher and consultant on projects. I was hungry to learn and quick to figure things out, which made me a good contractor. A few years later I decided to apply to become the CEO of the organisation I was working for, and for the next 12 years that (mostly part-time) role and my continued work as a consultant turned into a very fulfilling career.

    In my early years being a CEO I often struggled to explain to people how I had ended up in the role with a PhD in cemeteries, a degree in art, a penchant for making stuff and evidently little leadership experience. A young immigrant and a women to boot. No one had ever heard of me and my story didn’t really make sense. Working hard and being good at what I did eventually helped establish my place.

    Being a CEO of a small not-for-profit that employed fewer than 10 staff and often just 5, and turned over around half a million pounds a year (and sometimes much less) offered me the opportunity to learn a bit of everything, from finance and HR to governance and operations. It also offered me lots of opportunities to get involved in activities and communities, and to work for something that aligned with my values and that made a difference. I developed a much greater appreciation for the ethical dimension of work, of having a career. It let me experience what it’s like to have a (small) platform, and helped me develop my voice.

    As my interest in leadership and mentoring developed and I started to train as a coach and write my first book, a new chapter in my career story started. I began to re-invigorate my freelance work, which during the pandemic had dried up, and started a period of transition, letting go of one role and building a new one. I started to plan out more books I want to write, and began to sketch out a new vision for better work life balance and more independence once again.

    To many people the move didn’t make sense. It wasn’t a step up, a move to running a bigger organisation, building on what I had achieved in a smaller organisation. My pension provision agreed with them. Depending on my own little venture at this stage was (and is) risky. But it felt and still feels right to me.

    Making sense of the story so far sounds something like this in my own head:

    I started out looking for things that interested me and would challenge me. I gained some knowledge and skills, and found a lot of interesting things. So I put those capabilities to use and see what else I could do. Then I found that I could make a positive difference to others, and poured my energy into making that happen. Eventually, when I felt I needed more balance, and to spread my energy across more areas of my life, new interests led to new goals and a wish to fulfil some bigger dreams; like writing books and getting a dog and living near the sea.

    And so, I started to put together the building blocks for a small, independent business venture that would help me fulfil these and other dreams, whilst doing work that makes a positive difference in the world and aligns with my values. It makes perfect sense to me, even if on a day to day basis it remains equal parts imagination and profitable job.

    This summer it’ll be 28 years since a young Maren climbed the steps from the tube station up into the streets of London, carrying a duffel bag, a pillow and a role of The Cure posters (and an open ticket to fly home anytime, because my parents thankfully had more sense than I did).

    At the time I felt the urgency of life deeply. I thought time to be my true self would run out when I reached the (what I then thought) calm and boring reaches of adulthood, of middle age. I think my younger self would be relieved (if disbelieving) to learn that existential dread and big questions still float around my head every day, even though I have become a lot better at managing daily life. I like to imagine that 17 year old me would LOVE my dog Posey, and would appreciate that I have managed to publish my first book, and being on my way to the second.

    I am not sure what I thought “success” would look like when I was 17. Money or status has never driven me, even though I have always safeguarded my financial independence. Ethics and values are important to me, as is making a difference. The best I way I have to explain it is a metaphor:

    For years and years I’ve kept sketchbooks filled with writing, drawing, sketches, pictures and small mementos. The process of keeping the sketchbook is much more important than individual pages, and often I might find a little gem flicking through the pages years later. I still have a lot of my sketchbooks, and I treasure them. They are the best metaphor for how I imagine my career, and what makes it successful in my mind. Having a career, for me, is like a sketchbook. I fill pages and pages, and over the years these amount to a substantive amount of work, of me. Looking back, there are gems and there are duds, and it doesn’t really matter. What matters is that I follow my curiousity in order to create and contribute.

  • Finding my podcast voice

    Finding my podcast voice

    It’s been 18 months since I first launched my podcast, and this academic year I have stepped up the pace with a new episode every week. 65 episodes later… I still enjoy the process of making the podcast and it’s been very, very useful for my professional practice. It’s also a (for me still relatively) new way to sharing my work and I have tried to find the right tone in this medium, tried to find my podcast voice.

    In this post, I bring together things I have learnt along the way, and also ideas for what I’d like to try out next:

    Getting started: Looking back at the first year on the podcast, the pattern of putting out episodes is erratic. Sometimes I published 5 episodes a month, other times it was only one. They all come out on different days, and the format and duration vary, from below 10 minutes to above 40. Season 1, which doesn’t have episode numbers, has 10 episodes. Season 2 has 21 and currently Season 3 is at 30+. It’s a bit of a mess… However, what matters to me is that I did it. I continued to record and release episodes, trying out different topics and formats, with guests and without. I now feel that I have a podcast, and I have made it part of my professional practice.

    Choosing what to talk about: Just looking at the titles of various episodes gives you a clear indication that there are a whole range of topics I talk about. Here are some examples from across the three seasons:

    • 25 hacks to make hybrid work 1% more comfortable
    • A party without a cake is just a meeting…
    • Career transition reflection – 3 months in

    Some episodes are focused on coaching, and include more factual/how-to content whilst others are about leadership in hybrid workplaces and others again are updates on my work, celebrating milestones, reflective practice, radio… . The list goes on. What’s useful for me is that the podcast has become a reflection of my practice and leadership. That’s what I am interested in exploring, and it’s been helpful to acknowledge that as I find my voice.

    Listening to other people’s podcasts provided all sorts of inspiration and I tried out different things with various episodes to feel out what might work for me. Importantly, it needs to be a topic I am interested in, and it needs to be useful to me. My podcast is a passion project, not something I get paid to do. It’s an element of my open practice and as such it’s useful to others (I hope) but it’s primary user is me.

    An audience of one? In the early days of the podcast, it certainly was (an audience of one). I remember how excited I got when someone who could not be family & friends listened! It still makes me happy to hear that someone found an episode interesting or useful and yet I haven’t put a lot of effort into promoting the podcast. The platforms on which the podcast is registered offer all sorts of tools and resources to help you build your marketing campaign and expand your audience, which I must admit I have largely ignored up to now.

    It’s an intentional choice on my part to keep the podcast a space to play and experiment with. Just like my blog, I want the podcast to be part of my domain, a page in my sketchbook if you like. I don’t want to monetise it even if I could. I am not interested in it becoming the next big podcast on hybrid working even if that opportunity arose. I want it to sit in the margins. A working, thinking space instead of a polished production.

    With an organically growing audience, episodes now attract 30-50 listens on average.

    Experiments in podcasting: Since I started the podcast, I have experimented with various projects: I used the podcast to record audio versions of key sections of my book Leading Virtual Teams; I have run two CPD courses using my podcast as the main platform to deliver course content and I have used the podcast to share career transition updates as I started my free-lance venture. It’s certainly been a bit of a mixed bag of approaches and that has resulted in me learning a lot along the way.

    I appreciate that it may be frustrating to folks who are looking for regular episodes week in week out on a similar range of topics, and with a similar take on the format and I am sorry if experimenting with various aspects of the show makes it less enjoyable or less useful at times. For me, these experiments have been incredibly useful and rewarding, giving me space to try out ideas and new approaches on the journey to finding my podcast voice.

    Things I learnt along the way:

    • Getting comfortable with recording conversations and structuring content
    • Recording intros and outros
    • Writing show notes and providing links to resources
    • Transcripts and automatic transcription
    • Registering a podcast on different platforms

    The power of replay: Whilst many people dislike listening to their own voice, and I am not a huge fan of mine either, I do listen back to my own podcast episodes. I find it incredibly useful to replay my thoughts to help me refine my reflections and also to review how my thinking has changed. Just as listening back to a recording of me coaching with my coach trainer helps me identify ways in which I can improve as a coach and also identify what I am doing well and why it works; listening back to podcast episodes is extremely helpful for my professional development.

    It’s also a bit nostalgic, particularly in the more personal/reflective episodes. Here I am, celebrating milestones and sharing tips for this and that whilst around me domestic chaos or work problems reign. There are episodes when I clearly had a cold and episodes when I can hear my dog Posey in the background wagging her tail or chewing on something noisy.

    A note on the technology: I don’t have much know-how to share when it comes to podcasting tools and platforms. I have a wonderful mic that I can’t connect to my current computer, I use a browser-based, free tool to record my episodes which is just about to go out of service… and I live in a noisy environment where proper recording quality is harder to achieve than I’d like. In short, my set up is makeshift. When I sit down at my desk in the morning between meetings to record an episode, I am afraid there are no ambitions to have a recording set up beyond headphones.

    I am fortunate to know many people in the Open Education community with brilliant podcasts and radio shows, many of whom have professional experience in this industry, much better placed to advise on anything technical and I salute them. I learn much from their example, even if that is not always evident in the audio quality of what I produce… .

    Where next? I am very excited about continuing my podcasting adventures and I have ideas I want to try out come summer, and a break in my ‘regular’ schedule. I also need to learn how to record my episodes on a new platform, and I am definitely working on getting the good mic connected. Most of all, and regardless of any practical considerations, I am determined not to loose this space for open practice that I have opened up for myself. It’s another experiment in open leadership that has become important to me, and that in itself is a huge reward.

    It’s not all about podcasting… there’s a newsletter you can subscribe to as well… (that’s another blog post).

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  • Five: Flippers as totems of professional practice

    Drawing of Flippers

    Shortly after I drew the Travelling Monument Kit I started a new sketchbook and that turned into a whole series of works, photography, drawings, sculptures and, I suppose, travel, too, all centred on swimming flippers and entitled ‘Travels with my flippers’.

    The flippers became another layered metaphor, and worked for me on many levels:

    The beach under the city streets…
    Inspired by the writings of the Situationists International movement I have written about in a previous post, the flippers were my tool to uncovering a sense of freedom and discovery. The idea, to me at least, of a beach, a place that is wild and natural, that is hidden under the geometric grid of the urban landscape has always been an attractive one. I can imagine that at a time when industrialisation and urbanisation were rapidly increasing and cities were encroaching both in the physical sense but also in the public imagination, the idea of going to discover a beach, a place of freedom and inhibition under the concrete of the pavements, streets and plazas was a radical proposition. Not following the rules of the city, to create one’s own path and map, following the currents of the mind, the imagination is a poetic undertaking that still appeals to me, just as it did then.

    Then, I actually travelled with a pair of blue rubber swimming flippers that I bought in an old department store in Nicosia and put them into various places… taking photos along the way. It was surprisingly effective in situ and made people question how they read the space.

    I created a sculpture of the slippers, in white resin, and they were beautiful, glossy objects, that always looked ocean wet. To the puzzlement of many they were ‘installed’ on ordinary pavement slabs in a pristine studio space for my fine art degree show without any further explanation. It worked for me, but it didn’t work as art. The context was too obscure, the metaphors remained unexplained and inaccessible outside of their own very peculiar aesthetic.

    But it didn’t matter to me at the time, because the flippers acted as a metaphorical catalyst that inspired my practice as an artist. I filled sketchbooks and rolls of film, I wrote and dreamt and thought of things. The flippers also acted as a metaphorical accelerator, something to make the worlds of dense cultural theory I was reading easier to traverse. Swimming with flippers is a great deal easier and faster, they help us adapt to an unusual environment like underwater. It felt appropriate to use them as a tool for exploring critical theory, too. 

    Revisiting that now I find it interesting to revisit the idea, because I still do a lot to make exploring the worlds inside my head easier, to provide myself with the appropriate context for my professional practice (even if nowadays I don’t make and draw so many things anymore).

    Although much of my everyday work is now digital, I still have many material symbols of my practice… laptop stickers, sticky notes, books, journals, pens, badges, conference lanyards, drawings, charts, things on my watch (like the watch face) and so forth. Also, cables, lots of cables, and an increasing amount of debris of older devices, chargers, cable ties, hard drives etc. And alongside these objects, I make just as much effort to create the right conditions to be creative, to think about complicated things. I have a workspace full of things that help – including artworks and mementos from trips I have been on or conferences I have attended.

    And often it is an object or the space I work in that help me find time to write, to draw, to think. I respect the needs of my professional practice and I think that is what those flippers were ultimately about. They were travelling companions. Companions for thinking and doing, for my practice as an artist. They were symbolic and yet entirely practical. They were totems of my professional practice.