Blasting Through Blocks
In order to work freely on a project, an artist must be at least functionally free of resentment (anger) and resistance (fear). What do we mean by that? We mean that any buried barriers must be aired before the work can proceed. The same holds true for any buried payoffs to not working. Blocks are seldom mysterious. They are, instead, recognizable artistic defenses against what is perceived (rightly or wrongly) as a hostile environment.
Remember, your artist is a creative child. It sulks, throws tantrums, holds grudges, harbors irrational fears. Like most children, it is afraid of the dark, the bogeyman, and any adventure that isn't safely scary. As your artist s parent and guardian, its big brother, warrior, and companion, it falls to you to convince your artist it is safe to come out and (work) play.
Beginning any new project, its a good idea to ask your artist a few simple questions. These questions will help remove week g: p i (..
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f0mmo" bugaboos standing between your artist and „
k. These same quest,ons, asked when work (!JS ¿ t or bogs down, usually act to clear the obstructed flow. '
List any resentments (anger) you have in con with this project. It does not matter how D t, IOn or irrational these resentments nnv ^ y* plcky- u self TO your ani„ child ^TJZIZ -«rr-
Sonic examples: I resent being the sem. i . I*"horn ' Uo,,t«>"«>u, asked, not the first. (I am too the best ) , art,St this editor, she just nitpicks. She never L' ' l>AhKtk nice----I resent doing work for this idiot-T^ 8
oavs me on time. ' nc ncvrcr
2. Ask your artist to list any and all fears about the projected piccc of work and/or anyone connected to it Again, these fears can be as dumb as any two-year olds. It does not matter that they arc groundless to your adult's eye. What matters it that they are big sc.irv I monsters to your artist.
Some examples: I'm afraid the work will be rotten and I wont know it. . . . I'm afraid the work will be good and they wont know it. . . . rm afraid a)| my ideas are hackneyed and outdated. . . . I'm afraid mv ideas are ahead of their time. . . . I'm afraid I'll starve. . . . I'm afraid Til never finish. . . . rm
111 never start. . . . I'm afraid I will be embarrassed (I'm already embarrassed). . . . The list goes on.
3. Ask yourself if that is all. Have you left out any itsy fear? Have you suppressed any "stupid" anger? Get it on the page.
Ask yourself what you stand to gain by not doing this piece of work.
Some examples: If 1 don't write the piccc, no one can hate it. . . . If I don't write the piece, my jerk editor will worry. ... If I don't paint, sculpt, act, sing, dance, I can criticize others, knowing I could do hrffrr
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