How to Regulate your Mood as a Creative Person

Mood dice by User “Intgr”, CC BY-SA 3.0, Wikimedia Commons

I have come across countless stories of very successful people—from actors to athletes—who’ve said they struggle with mental health issues. And I have wondered why it is so easy for some who seemingly “have it all”—fame, professional accomplishments, material wealth, a safe and luxurious house, a support network—to sink into depression. This whole phenomenon of prolonged low mood has been examined from several perspectives—as one will find in the brilliant book The Noonday Demon: An Atlas of Depression (2001) by prolific American writer and Columbia professor Andrew Solomon.

Various causes have been identified (tragic events in one’s life, poverty, psychological and physical abuse, one’s environment, isolation from others, etc.), but the subject continues to remain elusive. Often there can be nothing massively wrong or unfortunate in your life and you might still find yourself curling up in foetal position, feeling as though all vitality has been sucked out of you, and that you will be in that state for days, maybe months.

Sometimes, of course, to treat your mental health, you do need therapy and medication. But if you are not clinically depressed, what is the most important thing that you can do by yourself to make sure your mood doesn’t fall for extended periods? For me, the helpful answer to this question comes from the “evolutionary” approach to depression.

If we examine the brain of Homo sapiens from the viewpoint of a hundred thousand years, we will discover that for more than ninety thousand years, it existed within a hunter-gatherer framework. Civilisation is recent, and modern life as we know it—with its click-of-a-button comforts—is not even a century old. The biggest change between our lifestyle and that of our ancestors is that we no longer have to worry about survival on a daily basis. We are stable and secure in our homes, we do not have to kill lions and snakes.

But our brains are still used to those older rhythms, to seeking everyday highs of the hunt in the middle of danger. In his book The Depths: The Evolutionary Origins of the Depression Epidemic (2014), psychologist Jonathan Rottenberg, a professor at the University of Southern Florida, makes the point: “Moods, high and low, evolved to compel us to more efficiently pursue rewards. While this worked for our ancestors, our modern environment—in which daily survival is no longer a sole focus—makes it all too easy for low mood to slide into severe, long-lasting depression.” So instead of crests and troughs, what we get now is slope and flatline.

Our hunter-gatherer brains no longer get the thrill of everyday highs and easily drown in protracted melancholy. (Credit: Pixabay)

Because the problem behind low mood lies in daily routine, the solution also exists within our everyday to-do lists. We must be constantly accomplishing something no matter how tiny, pushing ourselves forward. A one-time victory, even when it is as colossal as an Oscar award or Olympic medal, cannot guarantee continued feelings of bliss.

In his book Good Reasons for Bad Feelings: Insights from the Frontier of Evolutionary Psychiatry (2019), American physician Randolph Nesse writes that “…mood is influenced most not by success or failure but by rate of progress toward a goal…Baseline mood is remarkably stable for most people, and variations reflect mainly the rate of progress toward a goal.” That is why some highly illustrious figures can also turn gloomy in the aftermath of a huge win. The novelty of elation erodes because soon their brain will get accustomed to the state and will enquire, “yes, but now what next?”

So you must always have some project you are working on. The moment you finish one, you must begin a new one. And you must establish a mechanism of measurement, have targets in place. That way, as soon as the mood falls, it can be perked up through action.

Never be without a goal you can make daily progress towards if you care about your mental health. (Credit Pixabay)

I have found this insight very useful in my entrepreneurial life. Of late, I have made a rule that I must fill my spreadsheet with new contacts and send marketing emails every single day, instead of delivering them in batches twice a month. Introducing myself to strangers daily, even if just 5 or 10 in number, has been giving me a thrill and keeping those periods of inexplicable, unreasonable low mood away. The thought that I’m consistently taking steps, making small progress towards the bigger goal of advancing my career makes me less irritable and more positive.

A lot of creative people tend to not live a life of strict routine but might operate fervently in spells. This is because they have no control over their ideas. They never know when inspiration may strike. They can spend huge chunks of time shut off from the world, just thinking, scribbling, waiting for light-bulb moments. And while periods of pure concentration and contemplation are necessary, extended absence of quantifiable action can seriously damage one’s sense of wellbeing.

Let’s say if you are a painter planning an exhibition in the coming year on a particular theme—maybe something political—how can you use the vehicle of your project as a daily mood regulator? You can devise a strategy that might sound like this:

  • Read two articles per day, one on a good thing done by a government, another on a bad thing done by a government
  • Every Monday, Tuesday and Thursday, talk to somebody about what they’d want their government to do differently
  • Every Wednesday, Thursday and Friday, talk to somebody about what they appreciate about their government
  • On Saturdays and Sundays, research something historical—about a benevolent emperor or ruthless dictator

Record your findings in a spreadsheet, track your efforts. After you have finished all your paintings based on your reflections, rest but do not be idle for too long. Choose a new theme and start over again.

Written by Tulika Bahadur.

Building Melbourne, creatively

Swanston Street, 9 -10 February, 1985
Source: The Sydney Morning Herald, 2019

The idea of building a creative city has been at the forefront of how we imagine and develop cities like Melbourne for the last decade or two. As an artist, I’ve found this city creatively liberating and I’m thankful it has given me a place where my own skills have been developed and shared. However, at times, I’m made aware that I am living in the midst of suffering due to drugs or homelessness or mental health issues or some form of displacement. The recent reporting about injecting rooms and some of the associated conversations I’ve had with friends have highlighted the dichotomies present in our city. I do believe that working in a creative industry does build and enrich our lives and Melbourne supports this well, but how do we think about creativity in the context of the city that is often suffering?

There has been a significant influence upon our city policy makers concerning the role of the arts in our cities. In recent decades Richard Florida and Charles Landry have influenced many planners across the globe including those planning for Australian cities.[1] Florida’s book, The Rise of the Creative Class, has had a particularly big impact. Florida makes a connection between a successful economy and economic development based upon the presence of technology, talent and tolerance within that area. Florida’s argument is that in order to attract creative workers, that city has to have a lifestyle that is attractive to the new ‘creative class’. This ‘creative class’ values diversity and tolerance in the places they live. Florida says that companies will follow creative workers who have taken the opportunity to choose their location based on their preferences. For Florida, attracting and retaining talent rather than focusing on capital projects such as buildings and stadiums is the means to economic growth.

Rowland Atkinson and Hazel Easthope believe that there are significant reasons for the popularity of these ideas by Florida and Landry. They write, ‘First, the ideas of both Florida and Landry fit well with a broader recognition of the importance of the cultural industries in the economy… Second, particularly in Florida’s formulation, the creative class thesis is not at odds with economic rationalist or neoliberal policies.’  However, they raise the concern that gentrification tends to accompany the attraction of the creative classes which raises housing and living costs, displacing a sub section of society. They conclude that it appears that ‘urban governance approaches seek to enhance’ the possible benefits of a creative city agenda but are ‘generally ignorant of those excluded from, or unable to join, the new economy.’[2]  So, while there are many benefits touted about building a creative city, the focus on economic gains sometimes means that we fail to see those that are marginalised by the aspects such as rising house prices.

Charles Landry’s work which is concerned with urban renewal is perhaps better suited to creatively solving the problems of a city such as Melbourne. Landry’s, The Creative City, written with Franco Bianchini in 1998 argues that creativity can and should be used to tackle economic and social problems. Landry states in a later interview, that all aspects of a city are required to contribute to sustainable cultural environment, not just a creative class. While people in the arts can provide content, it is those working in infrastructure that are key. ‘If content is to have any effect, you need creative logistics analysts, creative engineers, creative educators. Above all, you need creative bureaucrats.’[3] Perhaps along the lines of Landry’s argument, broadening the scope of who is creative, to insist that all roles need to be creative, could enable more diverse solutions to our cities problems.

The original idea of a creative city has its basis in the works of several thinkers of the 1980’s, notably Australian David Yencken in 1988 who described ‘The Creative City’, in an article of that name, published in the literary journal Meanjin.[4]  It was Yencken who paved the way for imagining Swanston Street closed to traffic when in 1985, he proposed that for Victoria’s 150th celebrations, Swanston Street should be turned into a giant green park. So, for one weekend, 13,250 square metres of grass was rolled out along four blocks of Swanston Street. Tens of thousands of families picnicked in a park that had previously been a bleak road in the centre of the city.[5] Yencken was offering a vision that this car ridden centre of Melbourne could eventually be made completely car free. This eventually happened, as after being restricted to traffic from 1992, Swanston street was made completely traffic free by 2012. This serves as an example of how Melbourne was a beneficiary of creative thinking that didn’t come from an artist, rather from David Yencken as secretary of the Victorian Planning Ministry.

Daniel Pink writes that the future belongs to a person who thinks like an artist, inventor, storyteller a holistic ‘right-brain’ thinker. For Pink, the aptitudes that will make a person successful will be those of design, story (listening and communicating), symphony (connecting various elements), empathy, play and meaning. Recalling Landry’s ‘creative bureaucrats’, it seems that deepening our use of these aptitudes in our work, whatever that work is, will enable us to connect with the bigger picture, solve the bigger problems. Perhaps this is the key; that we all remain creative, seek meaning, listen to the stories and communicate using stories, connect the obscure dots and carry empathy, so that we can find creative solutions to our city’s problems.

I recently had a  conversation with Luisa, a Studio Art student at MAC. She described creativity as ‘finding a door where you once only saw a wall’.  Applying this thought to our city, we are not going to fully realise what a creative city can be until we all look for a door where we only can see a wall.

Written by Marco Corsini.


[1] Rowland Atkinson and Hazel Easthope, The Consequences of the Creative Class: The Pursuit of Creativity Strategies in Australia’s Cities, 2009 The Authors. Journal Compilation © 2009 Joint Editors and Blackwell Publishing Ltd.

[2] ibid

[3] https://www.strategy-business.com/article/10306?gko=f6f79

[4]Yencken, D. (1988). “The creative city”. Meanjin. 47.

[5] https://www.smh.com.au/national/the-man-who-helped-re-imagine-melbourne-20190705-p524mc.html

Pam Hallandal – Paper Walls

Pam Hallandal, self portrait, 1983
Pam Hallandal, self portrait, charcoal, 1983

Pam Hallandal (1929 – 2018), Australian artist and Former Head of Drawing VCA, impacted the lives of many artists in Melbourne from the 1970s onwards, including our very own teachers here at MAC, Michelle Caithness and Michelle Zuccolo.

Glen Eira City Council Gallery is celebrating her legacy with an exhibition, Paper Walls, featuring her incredible work and her passion for drawing. The exhibition will also feature Pam’s past colleagues and students, including Rick Amor; John Scurry; Greg Creek; Allan Mitelman and Michelle Zuccolo.

The gallery will showcase the breadth of her artwork and highligh some of the themes she depicted including portraits, contemporary life in Melbourne (shoppers, casino patrons, workmen) and other images exploring the human condition. Pam was a visionary teacher and mentor, employing a wide range of emerging and established artists to work with alongside her, educating students through their shared passion for drawing.

Many have been fortunate to benefit from the rich experience of Pam’s teaching practice (1970s to 1994). Others have simply enjoyed viewing the quality of her drawings, prints and sculpture which now belong in national and state gallery collections, as well as in universities and library collections throughout Australia. Pam’s career highlights included winning the Australian Dobell Drawing Prize for excellence in drawing in 1996 and 2009 (the only female to do so). Pam has been included in “Backlash” at the NGV in 1986, in many major drawing related exhibitions at Heide, Mornington Peninsula, Gold Coast City Art Prize, The Centre Gallery, S.H. Erwin Gallery, Sydney, Kedumba Invitation Art Award, Australian Drawing Biennial, ANU and a recent major solo exhibition at Ballarat Art Gallery.

Two teachers at MAC studied drawing under Pam Hallandal, and are also represented in this exhibition. Michelle Zuccolo was employed by Pam for five years in the Drawing Department, Victoria College of Art and Design, Prahran. Michelle has been included in the Australian 7th Drawing Biennale, Drill Hall, ANU, Canberra and has been a finalist five times in the Adelaide Perry Prize for Drawing, PLC, Sydney. She received an Honourable Mention by judge, Aida Tomescu in 2017.

Michelle Caithness recently participated in invitation-only the Keduma Invitation Drawing Award, NSW and is currently a shortlisted in the Dobell Drawing Prize, to be shown at the National School of Art, Sydney. Floor talks are scheduled throughout the exhibition, and Michelle Caithness will be discussing her drawing practice at midday on Friday 8 March at the gallery in Caulfield.

Exhibition details:
Dates: 7-24 March
Time: Monday to Friday, 10am–5pm. Weekends, 1pm–5pm.
Location: Glen Eira City Council Gallery, corner Glen Eira and Hawthorn Roads, Caulfield
More information here.

Written by Michelle Zuccolo.

Fractured Dwellings: Rosi Griffin

Paintings that describe fragmented domestic spaces populated with disintegrating walls, are timely. They come when the industrial spaces around Rosi Griffin’s Collingwood studio are rapidly transforming with new developments continually springing up for a swelling inner city population. They come at a time when massive rises in Australian house prices have turned property development and residential renovation into a national sport when glossy magazine style layouts of idealised domestic spaces cloud our image of that the home has been for most of us.

Fragmented Dwelling, Rosi Griffin, acrylic on canvas, 122x91cm

The paintings, Fragmented Dwelling and Urban Transformation, describe this time as the disintegration of the domestic space. Not only is the possibility of ownership becoming more remote for emerging generations but for those that have a home, the domestic space is now set in the context of surrounding development and unattainable images of perfection. The domestic space is being threatened on many levels as materialistic impulses cloud out communal and familial impulses. The stability and viability of that space is being torn, dislocated and shredded like the walls in these paintings. We can no longer claim to be escaping the slums, as Modernism claimed almost century ago, rather, it is now all for the sake of the new and the ideal as dictated by fake images of domestic perfection.

Urban Transformation, Rosi Griffin, mixed media on board, 60x50cm

Walls create a space that not only protect, but also provide a known place, and in that place gradually builds a narrative of belonging. The experience of a neighbourhood, the identification with a place are held by familiar walls. The walls of our home, the walls of our streets, are pages on which our stories are written. Without them we fall into a a perpetual present with no past, perpetual change eroding a language of belonging. Language of home gradually disintegrates and becomes abstracted until all that we have in its place are traces of memory of what was. As in Build after demolition, we no longer have identifiable walls, just the trace of walls that define a present space with no history and no story. Edges without containment and protection.

Build after demolition, Rosi Griffin, acrylic on canvas, 112x140cm

Opening Friday 2 June, 6 pm to 8 pm at St Heliers Street Gallery, Abbotsford Covent, 1 St Heliers Lane, Abbotsford.

Written by Marco Corsini

Students’ work from our Painting Intensive

Marco’s Painting Course in December was three days of intense energy between painters and canvas. This concentrated effort is not often exercised in our busy lives and the end results were acute, new technical skills and a finished work after only three days of painting.

The students who attended had varied painting skills; some with little knowledge at all. As you can see from the finished pieces of work below, they completed sensitive paintings with varied tone and interesting compositions. We are very happy with these pieces and proud that such detail was achieved over a short amount of time. It normally takes our students at least few weeks to complete a painting of this standard in our normal classes with two and a half contact hours per week.

We have introduced another intensive art class – drawing with Hilmi Baskurt, which runs for three days over the Labour Day weekend in March. This is a great opportunity to focus and refine drawing skills over three intensive days. You can find out more here.

Ethel, acrylic on canvas
Ethel, acrylic on canvas

Painting
Julie, acrylic on canvas

 

Elizabeth, acrylic on canvas
Elizabeth, acrylic on canvas

David Palliser moves to Block Projects

Solar Headache, 2012 137 cm. x 105 cm., Oil on canvas
Solar Headache, 2012, 137 cm. x 105 cm., Oil on canvas

ESAP guest artist David Palliser has moved to Block Projects gallery in Richmond.

Children and art

The following is an excerpt from an e-mail I sent earlier today which may be of help in understanding what I am trying to do in the Young Artist Program.

Until the age of thirteen or fourteen a child needs to be reassured that their own creative processes including experimentation and failure are all valid. I am trying to allow the children to emulate the creative processes that I see a mature artist go through. By doing that I am hoping that the child will be equipped with confidence and creative processes to deal with the challenges of anything they choose to take on. At some point the child’s vision widens and seeing skills they do not possess; they choose to acquire those skills. It is at that point that a systematic direction can be given. To some degree these two aspects are present in every child at every stage so I am trying to read the child to know when to let them go and when to give direction and I do that every class.

If the child were to produce mermaids and dogs every week I would not see that as being any different from Fred Williams producing landscapes. My role then is not to distract from the child’s vision but to support them in developing that vision and give technical advice when necessary (which at this age, may or may not be taken on). My other role is to expose the children to art and art processes which I try to do although the children are often so absorbed in their own work they barely seem to notice.

Marco Corsini

Kevin Brennan will be asking; why do we make art and does art really matter?

Why do we make art and does art really matter? Kevin Brennan, our guest speaker this Tuesday the 5th and Friday the 15th, will be exploring these questions.

Kevin has worked in the arts and cultural arena for over 25 years as artist, producer facilitator and entrepreneur covering a range of art forms and practice. Kevin is fascinated by creativity and its practice as well as in public debate and policy frameworks. He has extensive experience in teaching, facilitating community engagement, writing strategy and analysis and developing policy in this field.

Kevin was Artistic Coordinator of La Luna Youth Arts (1990-94), Company Manager of Melbourne Workers Theatre from 1995-1999 and Programming Co-ordinator for the Art of Dissent Conference for Adelaide Festival and Melbourne Festival in 2002. He has served on numerous local and state government committees and advisory bodies.

Through his business United Notions Creative Solutions Kevin has worked strategically through consultations & research with small arts organisations, diverse communities, government and arts industry bodies and the broader community and tertiary education sectors. Among many other projects, Kevin was Executive Officer of Arts Management Advisory Group (Victoria) from 2005-2011, Specialist Arts Advisor for Deloitte’s Research into Small Arts organisations for Arts Victoria (2007). He has worked on the development of Arts & Culture Strategies for Shire of Cardinia, City of Kingston and Shire of Golden Plains. Kevin is a sessional lecturer in the Masters of Community Cultural Development Course at the Centre for Cultural Partnerships (Victorian College of the Arts) and lectures in the Masters in Arts Management course at RMIT.

Jesse Dayan Life Drawing short course

Jesse Dayan Before the Window, Oil on Canvas, 76 x 50cm, 2010
Jesse Dayan Before the Window, Oil on Canvas, 76 x 50cm, 2010

Due to Jesse having been invited to present at a symposium of the Royal College of Arts, the previously scheduled Melbourne Art Class short course in Life Drawing is now postponed to May. For more information please go to life drawing.