Every color-seed can blossom

During winter, seeds have all the nourishment they need in their protective casing: all they need to do is waiting and slowly absorbing water so they are ready to sprout in spring.

I would like to invite you to celebrate this life circle with a creative activity. It can also represent a kind of collective work for celebrating the rebirth and the new beginning that follows each end.

First, let’s prepare what is needed. Cover the entire surface of one or more tables with a large sheet of paper (200 gr would be the best) and fix it so that it will not move. Then, draw randomly scattered coloured dots on the sheet. Finally, display some artistic materials on another table or support (markers, coloured pencils, oil or wax crayons, watercolours, etc.).

A variable number of people of all ages can participate, but it is also possible to have an individual experience, more intimate and contemplative. Of course, the available tables will be proportional to the number of the participants.

Each coloured dot represents a seed that, after resting for the whole winter, is now ready to bloom and expand into whatever shape you imagine – not necessarily the realistic shape of a flower. 

Everyone can move freely around the table, choosing a seed at a time and making the colour finally release its energy and flow, occupying a space.

How can the chosen colour-seed you chose grow up and develop? Try to “listen” to it, to leisurely observe it for a moment… 

What is its expansion strategy? Through points, lines, areas, shapes? How is it going to move and to connect to the other seeds?

The development of any plant element depends on both the seed, the soil and the climate of where it is located. Similarly, signs and shapes will be influenced by both the artistic tools used for drawing and the type of paper that covers the table (and the social climate of the participants). For example, on a smooth paper markers will trace a kind of line differently than on a rough or wet paper.

Very different shapes will probably emerge and will gradually occupy the space of the sheet, getting closer to each other. How do they react?

Finally, the whole sheet will turn into a large flower garden. The work can be considered completed when all participants are satisfied with the result and perceive an overall harmony of the composition.

Above all, do not rush. You cannot force any blade of grass to grow.

Group-work by Adriana, Antonella, Rita and Viviana. Thanks for sharing!

This post is part of the project Grammar of Drawing by Suzanne Axelsson, Nona Orbach and Roberta Pucci.
It has been translated in four languages:

Copying or Inventing?

What do you think about “copying”? Is it useful, boring, comfortable? What about learning something by following the instructions? How important is the knowledge of the technique and what is its role in the creative process? These interesting questions can open a broad discussion both in the artistic and educational context, looking for the right balance between rules and freedom, between structured activities or guided workshops and an open studio setting.

 

I don’t think one choice can be always right. Let’s consider a concrete example: a very simple, popular technique which consists of joining some pieces of cardboard or other material by inserting them through cuts (see the image below).


Image from the book “Così per gioco” by Elve Fortis de Hieronymis

This techique can be explored through endless possibilities, themes and variations, from the most basic activities of children books (like the image above) to the higher art works, like the cardboard animals by the designer Junzo Terada published by Chronicle Books or the futurist flowers by Giacomo Balla (images below).

Knowing these works, you could choose to copy one of them or to invent a new one, applying the technique in a creative way. I think no choices are definitively “good” or “bad”. In fact, “copying” does not necessarily implies laziness or lack of ideas. Sometimes it comes from a need of security, reassurance or imitation as a social strategy, from wanting to learn or strength a skill or a knowledge.

Creating something new is not necessarily related with the context and consistent with the goal of the activity, as in the following case. I designed the cardboard animals below for a workshop in a women’s prison. After the workshops, participants could sell their cardboard animals to earn some money. They were not interested in creating new ones, but to build the maximum number of nice animales in their limited time available. Thus, I think the question is not about copying vs inventing. The central core is the reason, the meaningfulness of the choice, its accessibility and connection with the context.

For example, what about the white plants of the cover image, inspired by the futurist flowers? I created them for a preschool’s opening: a celebration and collective event where an extemporary “garden” of great effect was very appropriate. I copyed the ​flowers by Giacomo Balla but also re-contextualized them according to the new context, and changed them through new variations of size, shape and function. In fact, visitors could create paper flowers in the dedicated workshop and then put them in the cardboard plants (by fixing brads in the plants’ holes).

The same idea can be offered in other ways, depending on other needs. In the case of the “Literary Forest” (see the image below), it was set up for the birthday of a public library. Each tree was dedicated to a poet and had some sheets of paper with poems in its branches. The participants of the workshop chose a poem, cut it out and use the words to decorate some special flower-pencils.

Of course, flowers and animals are not the only possible themes. The architect Francesco Bombardi used this technique for his research about wood finger-puppets. In this case, digital tools can support children’s work by allowing them to immediately cut their puppet drawing from the wood surface, so that everyone will have their puppet and will interact with others.


All these thoughts are also part of a wider picture: what value does our social, cultural background assign to tradition and innovation ? Our usual, implicit way of using techniques and examples – following what we already know rather than exploring the unknown – is influenced by this fundamental aspect.

If you reach a high level of a creative techique, you know that, at a certain point, you will find yourself along a continuum between adherence to the canon on the one hand, and free experimentation on the other – explains the psychotherapist Estella Guerrera. When you know very well how to do something, you have – at least – two choices: continuing the same way or breaking the pattern and using your skills to do something different. Both ways make sense, but this apparent dichotomy confronts us with the concept of risk and “evolutionary change”. In the psychology of the life cycle, we are called to precisely pronounce ourselves on these issues, during the different life stages: do you stay that way (“knowing to know”) or do you change and risk failure?

Both tradition (so repeating, copyng) and change play an important role in life: can you dance between these opposite sides without being stuck in one position? Here is how a technique can even provide us a meaningful metaphor for exploring our creative and life processes.

 

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The Grammar of Plastic Bottles

How many shapes are hidden in a plastic bottle? Have you ever tried to break it down? Rings, cylinders, cones, hemispheres, spirals, towers, domes and others will unexpectedly come out of it… Then, these elements can be combined together in order to create more complex structures. Let’s play with them, without already having a specific goal in mind. The shapes themselves will guide us, revealing unexpected paths. It is a dialogue between us and matter, a mutual interaction in which the material is not forced in our “a priori” idea.

the different parts of a plastic bottles

Some of the bottle’s pieces can be used as a module, that is a repeated element forming more complex structures. For example, I made a curtain among trees (you can see below) using a plastic ring as a module.

a curtain made of plastic bottles

The interaction between colored plastic and natural or artificial light can generate interesting, almost magical effects.

After having explored “the rules of its grammar”, we will be able to use the material in a creative way, consistent either with its nature and our purpose in a specific context. Here is a short example: some pencil flowers I designed to celebrate the birthday of a public Library.

artificial flowers made with plastic bottles

I did not have in my mind images of real flowers to be copied: the shape of the final flowers was inspired by the shapes and characteristics of the various parts of the bottles, recombining them. In many cases, the cap was drilled and used as a connector between the pencil and the plastic part.
What is your favorite one? Many other species are waiting to be discovered… You are very welcome to send a picture of new flowers, in order to broaden a common Plastic Herbarium. Enjoy!

#thegrammarofmatter

artificial flowers made with plastic bottles
artificial flowers made with plastic bottles

Pencil-flowers and creative thinking

When can a process be defined “creative”? What does it mean “to be creative”? It is a very complex subject and there are several definitions. I have chosen one I like. The French mathematician Henry Poincaré defined creativity as “the capacity to join scattered elements in new and useful combinations”. This means that a creative result establishes a useful link between elements that were already known before but apparently unrelated.
It often happens that we can not choose the starting elements, we just have them; but – according to Poincaré – this does not limit our creativity, as it comes from the quality of the relations: from the way to put together the elements rather than from the elements themselves.
Let’s see how this theory can be applied to a concrete example from my work. Many years ago, I was asked to project a workshop in a public library. Of course, there were some established conditions I had to consider: the workshop was supposed to last about one hour, for children from 6 to 10 years old, celebrating the library’s birthday and using simple stationery or recycled materials (paper, fabric, plastic bottles, pensils, markers, scissors, glue). Moreover, we had a large amount of pencils available (thanks to a sponsor).

Writing-flowers

Starting from these initial elements, the workshop idea I found was a “writing-flower”, built with a pencil and paper or fabric petals. It was also possible to cut and paste words from photocopied papers with poems, that were placed in some carboard trees (you can see these trees in the post “Technique or imagination?” clicking here). At the end of the workhop, children could give some of the flowers to the library users as an unexpected gift.

The writing-flower holds together all the initial conditions in a useful and pleasant way: it exploites the materials’ potential, it is appropriate to the age of the children and to the duration of the workshop, connected to the specific place of the library (as it concerns writing) and to its birthday, as flowers are typical gift-objects.
How did this idea originate? It was not a sudden inspiration but formed through the observation of the initial elements, that suggested which solutions were possible and which not, which one fitted better to all the conditions.
For example, we had a lot of pencils: what does a pencil suggest by its shape? Or thinking about the library’s birthday: what kind of object could be preferably used as a gift for a birthday’s celebration?
If an idea does not meet all the conditions, it has to be discarded, even if sometimes it is not easy to leave it.

The choice of how to present materials is an important part of the project. In this case, I chose to make available pre-cut shapes because we had a short time, so I preferred to simplify the construction and focus on composition, formal or chromatic choices, combinations of different flowers.

The worshop went well and they asked me another one, with the same theme but a bit different. I designed other pencil-flowers using another recycled material: plastic bottles. If you are interested in, have a look to the post “The grammar of plastic bottles” clicking here.
Finally, I think that the design process of this workshop can be defined “creative”. Nevertheless, was the workshop a creative experience itself for the children (according to the initial definition)? I think that in the flowers’ construction creativity had a relatively small component, as well as there was a small margin of choice (concerning colours, shapes and sequences of petals). After all, the aim of the laboratory was not the development of creativity and children enjoyed the experience very much.

writing flowers workshop

So I think that an handmade or artistic activity is not necessarily “creative” (it is a common stereotyped idea). Of course, it is important to share the same definition of creativity as well.

Some years later, it happened that I proposed a workshop about pencil-flowers in a very different context, where the partecipants were asked to develop a more creative process. In that case, we had a longer available time and the theme of “words” was not connected to the context. I invited the partecipants to explore different kind of paper in order to create different shapes of flowers. We used colored pencils, so that the color itself could inspire a certain kind of flower.

Coming back to the initial definition of creativity (as the capacity to join scattered elements in new and useful combinations), there is something Poincaré discovered about it that surprised me very much: the intuitive criterion to recognize the usefulness of the elements’ combination is its beauty. In other words: the most useful idea is also the most beautiful.

Isn’t it amazing?

Enjoy it and have good creative processes!

Writer-pencil-flowers
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