‘They’re so frightened of being wrong they have exempted themselves from being fashionable’ says British artist Grayson Perry in today’s headline in The Independent. He is referring to the personality-free trend in fashion which could be extrapolated to the fearful norm-driven world we live in.
Is being inoffensive, non-descript and safe serving the civilization? How does this transfer to style in the workplace?
Any workplace has its subcultures. Take a hospital, the doctors generally don’t mix with the nurses, and the technicians are a culture of their own. Some would attribute these divisions to hierarchy, but there is also an element of workstyle. Each subculture almost has its own language; there are types of people that prefer certain types of work. These differences are not inherently bad; they just are. If these types of people worked better together, understood one another’s language and yet had no expectation that one would begin to behave like the other, you might get a more interactive, dynamic work culture.
What if we had a cosmopolitan approach to dealing with different work styles? Instead of attempting to create a melting pot or a smoothie out of our diversity, how about fully imagining the potential of each person and appreciating that supporting unique style has more potential to create delicious possibility?
Cooperation is often confused with compliance or conformity. Perhaps because it’s easier for the mind to grasp, there is often a push in societies and workplaces for everyone to adhere to the same norms.
Collective potential is maximized when we steer away from conformity and more toward imaginative collaboration based on the appreciation of the potential of many independent and unique styles. In order to effectively mix different styles, it’s important to understand the distinct nature of your own style and that of others.
An understanding of aesthetic or taste can help identify different styles without them being seen as a source of conflict, but rather an appreciation of human possibility.
Realizing collective potential requires three types of action:
For more from Grayson Perry on creativity, identity, war, refugees, check this out:
“From the ice age, they still made culture…. When we’re fighting wars part of the reason is for the freedom for us to express ourselves.”
Curiosity is a critical trait of people who bring about innovation in our world. From Thomas Edison to Leonardo da Vinci and Albert Einstein, we have seen humans shift the narrative of our collective existence by allowing their curiosity to transport them from awareness to action. Some of the most celebrated artists of all time have created masterpieces by using their curiosity to experiment on canvas (Claude Monet, Jackson Pollock, and Jean-Michel Basquiat) and more recently on everything from smartphones (Miranda July) to building facades (Jenny Holzer) to plates (Vik Muniz). In her latest book “Big Magic: Creative Living Beyond Fear,” Elizabeth Gilbert makes the case that allowing ourselves to use curiosity as a tool for everyday living could not only bring about a more fruitful life, but a more pleasurable one, too.
The way that Gilbert sees it:
“The trick is to just follow your small moments of curiosity. It doesn’t take a massive effort. Just turn your head an inch. Pause for a instant. Respond to what has caught your attention. Look into it a bit. Is there something there for you? A piece of information? For me, a lifetime devoted to creativity is nothing but a scavenger hunt — where each successive clue is another tiny little hit of curiosity. Pick each one up, unfold it, see where it leads you next.”
This is the first in a series of blogs featuring limeSHIFT artists.
In 2011, artist Lyn Godley filled a gallery in Cologne, Germany with 75 images of birds in flight with points of light along their wingtips and tails. Dimming the lights so that the fibre optics showed up more, the wingtips of the birds became like a constellation in the night sky and the dark magnificence of the room unexpectedly drew crowds that would come and sit quietly, sometimes for hours and often repeatedly, in an embrace of calm.
This is not a typical response; the average amount of time viewers spend in front of a piece of artwork is 30 seconds. Multiple hours is not the norm. For the next year, Godley talked to doctors and art historians and dug into research databases to understand why! She found that exposure to images of nature, natural fractals, and repeated pattern has healing capabilities, reducing stress and improving overall health in the viewer. She also found that particular wavelengths of light result in reduction of stress and calm the body on a physiological level.
(today, we continue our interview with William Kentridge. The first part can be found here)
YA: Tell me a about the history of Johannesburg, since you’ve mentioned it, and how it’s affected your work. Apartheid and the reality of –
WK: Well, there’s a 2 billion year history of Johannesburg, which was a meteorite impact, which tilted the earth, which brought the gold to the surface, which is the reason Johannesburg existed. So it has a geological – not a geographic – X. And the hills around Johannesburg are essentially made by these piles of earth that came out of the mines, from the gold mines, those are our hills. But unlike most hills, which are fixed, and mountains, which are symbols of eternity, these are portable properties. They’re owned by the mining companies that excavated them and, as the price of gold goes up, they will get erased. So it’s a kind of a city that animates itself, it erases itself. You’ll see a hill and over the course of three months it will literally be rubbed out. It will be blasted away with high-pressure waterjets. So there’s a way in which the city is a new city. At my age, I’ve been alive for, like, 40% of the age of the city. The city’s only 130 years old.
YA: How old are you now?
WK: 56, 40% of the age of the city. So there’s that sense of it being an unfixed entity. And one that’s changed over 50 years, there’s no doubt, that I remember the city. It’s very bleached in terms of its colors, particularly in winter, it’s very harsh light, high contrast. So there’s a way in which it has an affinity with charcoal drawing, so there’s a lot of links that go across. It’s a bastardized, city of bastardy. It doesn’t have a long tradition. All its traditions are imported, recent, from all over. So I think it’s a city that proclaims both a virtue and the necessity for mixed traditions for constructing itself out of abandoned objects and thoughts. Read More…
It is a blinding bright winter morning in Johannesburg and I am sipping on honeybush rooibos tea while I wait for one of my artist heroes: Mr. William Kentridge. We are meeting again for the first time since the opening of his retrospective at the Museum of Modern Art in New York to discuss his dream of being an elephant, how apartheid influenced his practice, what keeps him curious, and the exercise of embracing a multiplicity of mediums. This was my third time in South Africa, where I have been travelling annually to support an arts empowerment program at Nkosi’s Haven (an orphanage founded with the aim of looking after mothers and children directly affected by HIV/AIDS).
A lone sofa sits in a wide open space with a simple Maplewood coffee table in front of it. The proportions of the space lead me to think that it could be a double decker bus garage designed by Mies van der Rohe. Instead of tall buses, exquisite three-dimensional corpses occupy the place: musical machines that feel like oversized puppets. My memory keeps going back to one, a rolling tri-pod upholding a sewing machine with megaphones for arms. These would soon thereafter be shipped to New York for his solo show at the Marian Goodman Gallery titled Second-hand Reading. Read More…