The work of becoming
On presence, authenticity, and Carving wings
‘Before Assembly’
The Artists’ Woodshed Studio Retreat
I’ve learned the value of experiential education. The “70:20:10” model has long been used in professional L&D areas, who know the benefit of learning about 70% of the art of the job through doing. Learning about 20% of the craft through working together, and the final approximately 10% of what you are doing through formal training of some sort.
This is a big part of good learning design. And somehow arose in my mind this weekend when I was carving. The question arose in my mind about what it takes to learn a new skill, or way of being, or even a new idea, or identity. And then, the question, when do decide you are ready to start learning that skill / way of being / identity?
Art is like that. I’ve long enjoyed it, but only recently started to invest time in actively learning from it, regardless of the quality of the work. I’ve been earnestly trying to create art, yet have already realised that there is wisdom in continuing to return to the piece, again, and again, until it holds something that effectively holds the balance of ‘essence’ and proficiency that makes art good.
And while I think I know what this piece will look like, when finished (in about a month or so), I can’t quite yet say I know what the piece will look like. Not really. There are still surprises that are to come.
Carving this weekend, I started to think about what it takes to put so many pieces of one’s life together, into a form that, when integrated, makes for a wonderful whole.
‘The practice of seeing clearly’
The Artists’ Woodshed Studio Retreat
That takes time, but it’s not so different than in the woodshed, where the Work is, sometimes, painfully slow. Each feather carved, refined, adjusted… all in the knowledge that this is just the first rough shaping, there are still many more days of work ahead.
But clarity doesn’t always come from speed. It often comes from one’s ability to be present. From paying attention long enough to see what is actually there… in the material, in the moment, in ourselves. For me, I’ve found that sculpture and the creation of art can help to bring me closer to that state of presence.
‘Authenticity is not performance’
The Artists’ Woodshed Studio Retreat
And… there is always that temptation (especially in leadership situations) to perform from
‘A Place Of Certainty’, if ever there was such a place. To speak quickly. To decide quickly. To present a finished, polished version of ourselves.
But the real work, in art, and in leadership identity, is much, much slower… as are most things that are worth while doing anyway.
Because the real work is in the willingness to stay with something long enough to understand it. To let insights arise, rather than having to be ‘forced’.
This is what I’m interested in. How to be with, instead of withdraw from new insights, new ideas, and new information that, if engaged with, could be of benefit.
‘Working with what has been discarded’
The Artists’ Woodshed Studio Retreat
And it is often in that space, when you stop trying to force an outcome, that something else beings to emerge. Your attention shifts. You start to see what is actually there, rather than what you expected to find. And sometimes, what is there has been waiting a long time to be seen.
As I carved, I thought of about this, and the material, reclaimed cedar paneling, that I was working with. Still rich in aroma and colour, and texture, and material that had already had already lived a life. Material that, almost was passed over as having value.
I am reminded of the quote, that one’s worth doesn’t decrease based on someone’s in ability to see it. For me at least, I’ve found that it can lie dormant until someone can see it, and are willing to work to help that come forward.
‘Attention to detail’
The Artists’ Woodshed Studio Retreat
The same is true for people. For ideas. For perspectives that don’t fit the dominant narrative, but hold value if you can sit with the ‘messiness’ and listen.
And I think that the approach I’ve taken in my art is not to directly select the ‘perfect’ material to sculpt in. Partly because I’ve grown rather fond of having to look for what material I have at hand, and seeing what value wants to come from it, and designing the project from there.
‘The wing, assembled’
The Artists’ Woodshed Studio Retreat
And I know that eventually, the pieces will come together. Not perfectly. But truthfully, I hope.
And perhaps that is the point. We don’t need more ‘perfectly aligned’ and uniform systems, to solve the complexity of the human problems of today. We need spaces where people can:
feel safe enough to bring their full selves to work;
are able to practice the skills required to respond toughtfully, and
be supported enough to bring forward what is uniquely theirs.
Because it is only through that… that practice of being present, which will help us to do the needed work to blend the different experiences, perspectives, and insights, that we collectively have, in order that something stronger can emerge.
‘Education is .. the lighting of a fire…’
The Artists’ Woodshed Studio Retreat
I’ve heard it said that the best time to start learning something is in the past, but failing that, the second best time to start learning something is now. And the more I see of the turmoils across the world, I know that there is so much more we can become, if we but learned the skills, and the micro-skills which we will need if we are to do so.
The work of leadership is not just to decide faster. It is to see more clearly… and to create the conditions where others can do so too.
