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Many of us need to rebuild                                                                                                                                                                             a safe place where we can display our work to a small group of trusted colleagues, get feedback, and refine. . . or abandon as needed.      (Burkus, 2016, pp. 1-2)

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Many of us need to rebuild                                                                                                                                                                             a safe place where we can display our work to a small group of trusted colleagues, get feedback, and refine. . . or abandon as needed.      (Burkus, 2016, pp. 1-2)

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...the importance of having an "art group" and how it can help you grow creatively.           Luann Udell. 

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...the importance of having an "art group" and how it can help you grow creatively.           Luann Udell. 

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THE FOUR QUESTIONS #1 Create Your Artist Support Group

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This post is by Luann Udell, regular contributing author for FineArtViews. She's blogged since 2002 about the business side--and the spiritual inside--of art. She says, "I share my experiences so you won't have to make ALL the same mistakes I did...."

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The creative artists support group: a therapeutic environment to promote creativity and mental health through person-centered facilitation.                           Elliot Benjamin 2017

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The creative artists support group: a therapeutic environment to promote creativity and mental health through person-centered facilitation.                           Elliot Benjamin 2017

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In this article, a variety of what the author refers to as creative artists support groups are described. The descriptions illustrate a great deal of divergence in terms of structure and range of group leadership or facilitation, ranging from virtually leaderless groups modeled along the lines of the structure of 12-step support groups, to groups led by a trained psychotherapist who directs the group with a series of structured therapeutic techniques, to a Rogerian person-centered facilitator who gently guides the group with little or no structure whatsoever. Furthermore, person-centered group facilitators of creative artists support groups may adhere to the basic ingredients of Rogerian person-centered individual psychotherapy by relating to the essence of the person but may do so in a flexible way that allows for occasional active interventions inclusive of the facilitator sharing his or her relevant personal feelings. Utilizing autoethnographic research, inclusive of a description of the author's motivation in writing this article, illustrations are given of some therapeutic interactions from the author's own creative artists support group to demonstrate this kind of flexibility in the facilitation of a person-centered creative artists support group. It is concluded that a common foundational ingredient in all the creative artists support groups described in this article is the dual focus on creativity and mental health.

Le groupe de soutien d'artistes créatifs: un environnement thérapeutique pour promouvoir la créativité et la santé mentale via la facilitation centrée sur la personne

Cet article présente un éventail de ce que l'auteur considère comme étant des groupes d'artistes créatifs. Les descriptions illustrent de nombreuses différences en termes de structure et de type de leadership de groupe: depuis des groupes pour ainsi dire sans leader selon le modèle des groupes de soutien structurés en 12 étapes, aux groupes conduits par un psychothérapeute directif formé avec des techniques thérapeutiques structurées, jusqu'aux groupes menés par un facilitateur rogérien centré sur la personne guidant délicatement le groupe avec peu ou quasi pas de structure. Dans les groupes de soutien d'artistes créatifs, les facilitateurs de groupe centrés sur la personne peuvent adhérer aux principes de base de la psychothérapie individuelle rogérienne centrée sur la personne en tenant compte de l'essence de la personne, mais ils le font d'une manière flexible permettant occasionnellement certaines interventions actives. Utilisant une recherche auto-ethnographique, l'auteur illustre son propos avec quelques interactions thérapeutiques issues de son propre groupe d'artistes créatifs pour démontrer ce type de flexibilité dans la facilitation d'un tel groupe. Il est conclu qu'une des composantes fondamentales présentes dans tous les groupes d'artistes créatifs décrits dans cet article repose dans la double perspective de la créativité et de la santé mentale.

Die Begleitgruppe Kunstschaffender: ein therapeutisches Umfeld, um Kreativität und psychische Gesundheit mit Hilfe des Personzentrierten Ansatzes zu fördern

Der Autor stellt eine ganze Reihe von Begleitgruppen Kunstschaffender vor, wie er diese Gruppen nennt. Die Beschreibungen illustrieren eine große Spannweite an Unterschieden, was die Struktur und das Ausmaß an Leitung oder fördernden Impulsen in einer solchen Gruppe angeht. Da gibt es praktisch führungslose Gruppen nach dem Modell der Leitlinien von 12-Schritte-Begleitgruppen, weiter über Gruppen, die von einer ausgebildeten psychotherapeutischen Fachperson geleitet werden, welche die Gruppe mit strukturierten therapeutischen Techniken führt bis hin zu einem Rogerianischen Personzentrierten Facilitator, der die Gruppe auf sanfte Weise wenig oder gar nicht strukturiert. Darüber hinaus gibt es Personzentrierte Gruppen-Facilitators von Begleitgruppen Kunstschaffender, die sich an die grundlegenden Zutaten einer Einzeltherapie nach Rogers' Personzentrierter Psychotherapie halten, was bedeutet, dass sie sich an das Wesen der Person wenden, aber diese tun das vielleicht auf eine flexible Art und gestatten sich gelegentlich aktive Interventionen. Auto-ethnographische Forschung illustriert einige therapeutische Interaktionen aus der Begleitgruppe des Autors, um diese Art der Flexibilität bei der Förderung einer solchen Gruppe zu demonstrieren. Das Fazit: Ein gemeinsamer begründender Faktor in all diesen Begleitgruppen ist der doppelte Focus, der sowohl auf der Kreativität als auch auf der psychischen Gesundheit liegt.

El grupo de apoyo de artistas creativos: Un ambiente terapéutico para promover la creatividad y salud mental a través de la facilitación centrada en la persona

En este artículo, se describen una gran variedad de lo que el autor refiere como grupos creativos de apoyo. Las descripciones ilustran una gran divergencia en cuanto a estructura y rango de liderazgo de grupo o de facilitación, de grupos virtualmente acéfalos, siguiendo las líneas de la estructura de 12 pasos de grupos de ayuda, a grupos dirigidos por psicoterapeutas entrenados que dirigen al grupo con técnicas terapéuticas estructuradas, a un facilitador Rogeriano centrado en la persona suavemente guiando al grupo con poca o ninguna estructura alguna. Mas aun, los facilitadores de grupos centrados en la persona, de grupos de apoyo a grupos creativos pueden adherirse a los ingredientes básicos de la psicoterapia Rogeriana individual centrada en la persona al relacionarse con la esencia de la persona, pero pueden hacerlo de manera flexible que permita intervenciones activas ocasionales. Utilizando la investigación auto etnográfica, se dan ilustraciones de algunas interacciones terapéuticas desde el grupo de apoyo del autor de artistas creativos para demostrar este tipo de flexibilidad en la facilitación de tal grupo. Se llegó a la conclusión de que un ingrediente fundacional común en todos grupos de apoyo de artistas descriptos en este artículo es el enfoque doble en la creatividad y salud mental.

Grupo de apoio para artistas criativos: um ambiente terapêutico promotor da criatividade e saúde mental através da facilitação centrada na pessoa

Neste artigo são descritos diversos grupos aos quais o autor se refere como grupos de apoio para artistas criativos. As descrições ilustram uma grande divergência em termos de estrutura e abrangência da facilitação ou liderança dos grupos, indo desde grupos virtualmente desprovidos de liderança e modelados à imagem da estrutura dos grupos de apoio em doze passos, a grupos com técnicas terapêuticas estruturadas e a um facilitador centrado na Pessoa Rogeriano que lidera o grupo calmamente, com pouca ou nenhuma estrutura. Para além disso, os facilitadores centrados na pessoa de grupos de apoio para artistas criativos podem aderir aos ingredientes básicos da psicoterapia individual centrada na pessoa Rogeriana, ao entrarem em relação com a essência da pessoa, mas podem fazê-lo de forma flexível, permitindo intervenções ativas ocasionais. Através da utilização de uma pesquisa auto-etnográfica, ilustram-se algumas interações terapêuticas no grupo de apoio a artistas criativos do autor, de forma a demonstrar este tipo de flexibilidade na facilitação deste género de grupos. Conclui-se que um ingrediente fundamental comum a todos os grupos de apoio a artistas criativos descrito neste artigo é o foco dual na criatividade e na saúde mental.

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The creative artists support group: a therapeutic environment to promote creativity and mental health through person-centered facilitation

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In this article, a variety of what the author refers to as creative artists support groups are described.

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It's actually a scary place to be… because this process is unlike most conversations we ever have with other people.

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It's actually a scary place to be… because this process is unlike most conversations we ever have with other people.

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Luann Udell

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Marketplace difficulties, creative blocks and problems with mood can get aired.

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Marketplace difficulties, creative blocks and problems with mood can get aired.

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Luann Udell

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It is my belief that creative recovery at its best is a non-hierarchical, peer-run, collective process.               Julia Cameron

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It is my belief that creative recovery at its best is a non-hierarchical, peer-run, collective process.               Julia Cameron

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Creative clusters, where we gather as peers to develop our strength, are best regarded as tribal gatherings, where creative beings raise, celebrate, and actualize the creative power which runs through us all.

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Creative clusters, where we gather as peers to develop our strength, are best regarded as tribal gatherings, where creative beings raise, celebrate, and actualize the creative power which runs through us all.

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No. Anyone can teach the course or begin a cluster by following the book and the guidelines below. It is my belief that creative recovery at its best is a nonhierarchical, peer-run, collective process.

There are no "accredited" Artist's Way teachers. Avoid anyone who offers to "certify" you as a teacher-- there is no such thing.

Guidelines

1. Use a Twelve-Week Process with a Weekly Gathering of Two to Three Hours. The morning pages and artist dates are required of everyone in the group, including facilitators. The exercises are done in order in the group, with everyone, including the facilitator, answering the questions and then sharing the answers in clusters of four, one chapter per week. Do not share your morning pages with the group or anyone else. Do not reread your morning pages until later in the course, if you are required to do so by your facilitator or your own inner guidance.

2. Avoid Self-Appointed Gurus. If there is any emissary, it is the work itself, as a collective composed of all who take the course, at home or otherwise. Each person is equally a part of the collective, no one more than another. While there may be"teachers," facilitators who are relied on during the twelve-week period to guide others down the path, such facilitators need to be prepared to share their own material and take their own creative risks. This is a dialectic rather than a monologue - an egalitarian group process rather than a hierarchical one.

3. Listen. We each get what we need from the group process by sharing our own material and by listening to others. We do not need to comment on another person's sharing in order to help that person. We must refrain from trying to"fix" someone else. Each group devises a cooperative creative "song" of artistic recovery. Each group's song is unique to that group - like that of a pod or family of whales, initiating and echoing to establish their position. When listening, go around the circle without commenting unduly on what is heard. The circle, as a shape, is very important. We are intended to witness, not control, one another. When sharing exercises, clusters of four within the larger groups are important: five tends to become unwieldy in terms of time constraints; three doesn't allow for enough contrasting experience. Obviously, not all groups can be divided into equal fours. Just try to do so whenever you can.

4. Respect One Another. Be certain that respect and compassion are afforded equally to every member. Each person must be able to speak his own wounds and dreams. No one is to be"fixed" by another member of the group. This is a deep and powerful internal process. There is no one right way to do this. Love is important. Be kind to yourself. Be kind to one another.

5. Expect Change in the Group Makeup. Many people will - some will not - fulfill the twelve-week process. There is often a rebellious or fallow period after the twelve weeks, with people returning to the disciplines later. When they do, they continue to find the process unfolding within them a year, a few years, or many years later. Many groups have a tendency to drive apart at eight to ten weeks (creative U-turns) because of the feelings of loss associated with the group's ending. Face the truth as a group; it may help you stay together.

6. Be Autonomous. You cannot control your own process, let alone anyone else's. Know that you will feel rebellious occasionally - that you won't want to do all of your morning pages and exercises at times in the twelve weeks. Relapse is okay. You cannot do this process perfectly, so relax, be kind to yourself, and hold on to your hat. Even when you feel nothing is happening, you will be changing at great velocity. This change is a deepening into your own intuition, your own creative self. The structure of the course is about safely getting across the bridge into new realms of creative spiritual awareness.

7. Be Self-Loving. If the facilitator feels somehow "wrong" to you, change clusters or start your own. Continually seek your own inner guidance rather than outer guidance. You are seeking to form an artist-to-artist relationship with the Great Creator. Keep gurus at bay. You have your own answers within you.

The Artist'sWay and all my other "teaching" books are the distillate of forty years of artistic practice. They are experiential books intended to teach people to process and transform life through acts of creativity. All books and all creative clusters should be practiced through creative action, not through theory.

It is my belief and my experience as a teacher that all of us are healthy enough to practice creativity. It is not a dangerous endeavor requiring trained facilitators. It is our human birthright and something we can do gently and collectively. Creativity is like breathing - pointers may help, but we do the process ourselves. Creative clusters, where we gather as peers to develop our strength, are best regarded as tribal gatherings, where creative beings raise, celebrate, and actualize the creative power which runs through us all.

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A Guide For Starting Creative Clusters | Julia Cameron Live

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No. Anyone can teach the course or begin a cluster by following the book and the guidelines below. It is my belief that creative recovery at its best is a nonhierarchical, peer-run, collective process. There are no "accredited" Artist's Way teachers. Avoid anyone who offers to "certify" you as a teacher-- there is no such thing.

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SHOULD THE GROUP HAVE A LEADER/FACILITATOR?

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SHOULD THE GROUP HAVE A LEADER/FACILITATOR?

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The jury seems out on this one!  Below are differing views on the subject.

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SHOULD THE GROUP HAVE A LEADER/FACILITATOR?            It is my belief that creative recovery at its best is a non-hierarchical, peer-run, collective process.              Julia Cameron

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SHOULD THE GROUP HAVE A LEADER/FACILITATOR?            It is my belief that creative recovery at its best is a non-hierarchical, peer-run, collective process.              Julia Cameron

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ACCEPTING THAT GROUP MEMBERSHIP WILL CHANGE If people choose to leave, everyone wonders if they did or said something wrong.  However people have reasons for coming and going, and what’s right at one point may not be the best thing at other times.

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ACCEPTING THAT GROUP MEMBERSHIP WILL CHANGE If people choose to leave, everyone wonders if they did or said something wrong.  However people have reasons for coming and going, and what’s right at one point may not be the best thing at other times.

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SHOULD THE GROUP HAVE A LEADER/FACILITATOR?          As a rule, leaderless support groups are unlikely to create themselves out of thin air and unlikely to survive if they do come into existence.  Groups of this sort tend to need a trained facilitator.           (Maisel, 2012:1, quoted in Benjamin 2017:8)

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SHOULD THE GROUP HAVE A LEADER/FACILITATOR?          As a rule, leaderless support groups are unlikely to create themselves out of thin air and unlikely to survive if they do come into existence.  Groups of this sort tend to need a trained facilitator.           (Maisel, 2012:1, quoted in Benjamin 2017:8)

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Our group originally met once every 4-6 weeks at members' studios or houses.  Normally we'd have lunch then a group meeting.  However the pandemic completely changed that: we decided to meet weekly to support those isolating alone, and to generally cope with the new situation.  This turned out to be a great move, bringing the group closer and building up trust and interest. For me it was a highlight of lockdown!

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Ideas are like small frightened animals hiding under the bushes.  You have to coax them out gently or they will run away and hide.               Grayson Perry

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Ideas are like small frightened animals hiding under the bushes.  You have to coax them out gently or they will run away and hide.               Grayson Perry

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Some members worry about revealing personal           details—that individuals may go off on tangents that are extraneous to the group and that hostility may arise within the group dynamic.  

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Some members worry about revealing personal           details—that individuals may go off on tangents that are extraneous to the group and that hostility may arise within the group dynamic.  

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(Grant, 2011, pp. 3-4)

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Mixing STRUCTURED and OPEN meetings - see below, and columns 6 and 7 on the right

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Mixing STRUCTURED and OPEN meetings - see below, and columns 6 and 7 on the right

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It can be utterly nerve-racking to expose your most raw efforts and experiments to other people.  As one of our artists understatedly put it ‘You have to be a tiny bit brave’.  

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It can be utterly nerve-racking to expose your most raw efforts and experiments to other people.  As one of our artists understatedly put it ‘You have to be a tiny bit brave’.  

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-What are the similarities and differences between your work and that of other artists?

--Tell me how writing, film, music, dance or any other artistic/theoretical medium feeds into the work?

-Can you sum up this work/ your practice in three words?

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- Can you describe the feel and flavour of the work?

-Can you talk about how you make decisions about the work?

-Does the work employ a specific artistic language (e.g. abstraction, impressionism, steam-punk, diagram, cartoon etc. ) and what are the implications?

-Does the work unintentionally look like/remind of anything else?

- Is there a lens through which the work looks at the world? (e.g. ecology, feminism, race, politics, nonhumanity, language, time, performance etc. etc. …)

-What is the engine that drives the car?

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- What would the work be like in a different process of making/medium/size etc?

How/why are you using x process to talk about y subject?

-How important is skill to the work, to you as artist and to the viewer?

-What about beauty?

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 'Viewer Experience' questions                                                                                                                  -                                                Tell me what it is you want viewers to get from the work?                 -How do you want viewers to feel when they experience the work?                                      -How are you reaching decisions about displaying/presenting/curating the work?                                                                    How much information does the work give to viewers? And how much will viewers bring  to the work?                        -What does the work do the world?                                    -What are the implications? -Why does it matter?

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 'Viewer Experience' questions                                                                                                                  -                                                Tell me what it is you want viewers to get from the work?                 -How do you want viewers to feel when they experience the work?                                      -How are you reaching decisions about displaying/presenting/curating the work?                                                                    How much information does the work give to viewers? And how much will viewers bring  to the work?                        -What does the work do the world?                                    -What are the implications? -Why does it matter?

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One group member said she couldn't get down to work before meetings, as she felt anxious about 'getting it wrong' 

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One group member said she couldn't get down to work before meetings, as she felt anxious about 'getting it wrong' 

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Some groups particularly in USA follow the AA Twelve Steps programme, and have the meetings to weekly for a twelve-week period only. This might suit artists unable to make a long commitment.

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SHOULD THE GROUP HAVE A LEADER/FACILITATOR?  Groups that are led are safer, more focused, get to the issues and translate the underlying issues more clearly than groups that are leaderless.                         (Grant, 2011, pp. 3-4)

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SHOULD THE GROUP HAVE A LEADER/FACILITATOR?  Groups that are led are safer, more focused, get to the issues and translate the underlying issues more clearly than groups that are leaderless.                         (Grant, 2011, pp. 3-4)

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MAKING TIME FOR PERSONAL ISSUES: listening and being heard

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MAKING TIME FOR PERSONAL ISSUES: listening and being heard

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Life can get in the way of being able to work, and is inextricably linked to Art (that's our take anyway). Often we start with what one member has called our ORGAN RECITAL! - all the aches and pains, doctor's appointments, moans and groans, reflecting the average age of the group!  Once that's out of the way we can can get on to other topics. Our group has come through illness, bereavement, divorce, mental health issues, money troubles, big family issues, big work issues, all the usual stuff of life. Being part of a supportive group is incredibly helpful... they are so wise! Sometimes we just listen to each others' stories and narratives: these are very powerful, and definitely find their ways into my art.

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One member says 'optimum number 6-8'.
Some Groups operate a drop-in whereby artists may bring work to single sessions with an aim or pupose.

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THEMED MEETINGS - each member selecting an artwork on a specific topic, to present to the group.

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THEMED MEETINGS - each member selecting an artwork on a specific topic, to present to the group.

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(SEE NEXT BOXES FOR EXAMPLES)

Easier to discuss personal things through someone else's work

Fascinating to see what other group memebers have selected.

Discover artists and works new to you

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portrait
figure
still life
conceptual art

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DISCUSSION TOPICS - our group did all these; please add to list

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DISCUSSION TOPICS - our group did all these; please add to list

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Skill (based around Rose Wylie's work - see next box)

Beauty

Conceptual art

Sculpture

Ceramics

Ecology, landscape

Feminism

Body image

Fine Art Textiles

Performance (based on watching Marina Abramovic 'The Artist is Present')

Land art (based on watching Jan-Claude and Christo, 'Running Fence')

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Rose Wylie is one of my favourite artists.  Often the response of students and other artists is, 'yeeeuch, where's the skill?'. This has made for great debates around skilling and de-skilling, emotional impact versus slick technique.  We definitely don't agree on this one but laugh when we think of how worked up we got!

Rose Wylie, Elizabeth & Henry with Birds, 2013, Oil on canvas, 3 × 5 m

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One of the group gave a zoom workshop on Colour

Another is due to do a workshop on Collage

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What are those??  One day we'll get back to the occasional group outing, meanwhile dream on!

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Examples from 'Fine Art Textiles' themed meeting

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Examples from 'Fine Art Textiles' themed meeting

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Cameron Julia, 2021. 'A Guide for Starting Creative Clusters'
https://juliacameronlive.com/basic-tools/creative-clusters/
Based on:
Cameron, Julia, 1992 'The Artist's Way'

Benjamin, Elliot, 2017. 'The Creative Artists Support Group: A Therapeutic Environment

to Promote Creativity and Mental Health through Person-Centered Facilitation'                                    https://www.tandfonline.com/doi/abs/10.1080/14779757.2018.1440624

Perry, Grayson 2013. 'Seven lessons on Creativity'. https://blogs.ucl.ac.uk/events/2013/12/03/grayson-perrys-seven-lessons-in-creativity/

Socratic  Questioning
https://www.researchgate.net/figure/Six-Types-of-Socratic-Questions-Adapted-from-University-of-Michigan-nd_fig1_228633338

Udell, Luan, 2018. 'The importance of having an "art group" and how it can help you grow creatively'.

https://fineartviews.com/blog/133959/the-four-questions-1-create-your-artist-support-group

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Being gently held to account by the group when you say in front of the group that you will do just one drawing, just one creative action between now and next week.

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BEING FLEXIBLE about how often we should meet

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BEING FLEXIBLE about how often we should meet

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If the meeting is structured, 'The first step in any successful session is choosing the problem to be investigated. Whether the problem is broad or specific, it must be stated with clarity. If you are working alone, write the question/problem/goal in large letters at the top of your page. In a group it is helpful to have the title written on a blackboard or on a large piece of paper for everyone to see. Following are some basic rules which must be observed in order to assure the success of your brainstorming session: Record all ideas as they emerge. One person in the group should be appointed to write each idea on the blackboard or a piece of paper. If you are alone, write down every single thought as it comes to mind. Suspend all critical judgment until the end of the session. Idea production is ten times greater when imagination isn’t restricted by judicial attitudes'.                Kent, Corita; Steward, Jan. 2008. Learning by Heart: Teachings to Free the Creative Spirit . Allworth Press. Kindle Edition.

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If the meeting is structured, 'The first step in any successful session is choosing the problem to be investigated. Whether the problem is broad or specific, it must be stated with clarity. If you are working alone, write the question/problem/goal in large letters at the top of your page. In a group it is helpful to have the title written on a blackboard or on a large piece of paper for everyone to see. Following are some basic rules which must be observed in order to assure the success of your brainstorming session: Record all ideas as they emerge. One person in the group should be appointed to write each idea on the blackboard or a piece of paper. If you are alone, write down every single thought as it comes to mind. Suspend all critical judgment until the end of the session. Idea production is ten times greater when imagination isn’t restricted by judicial attitudes'.                Kent, Corita; Steward, Jan. 2008. Learning by Heart: Teachings to Free the Creative Spirit . Allworth Press. Kindle Edition.

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We need a place where we can show our work in progress, but in a way where it's generally accepted that whatever we show isn't a finished           product and our worth to clients shouldn't be measured by it.                                  (Burkus, 2016, pp. 1-2)

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We need a place where we can show our work in progress, but in a way where it's generally accepted that whatever we show isn't a finished           product and our worth to clients shouldn't be measured by it.                                  (Burkus, 2016, pp. 1-2)

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Sister Corita Kent

Learning by Heart: Teachings to Free the Creative Spirit  Paperback – 30 Jun. 2008

Great exercises if you are ever stuck!

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I think meetings can be richer when they are multi-disciplinary. If I had to choose between a printmaking group and my broad-based crit group, it'd be crit group every time. (Anne Waggot Knott)

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I think meetings can be richer when they are multi-disciplinary. If I had to choose between a printmaking group and my broad-based crit group, it'd be crit group every time. (Anne Waggot Knott)

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I wouldn't want to join an art group with an overriding focus on mental health. The words "therapeutic" and "recovery" switch me right off. I'd rather talk about exploring and advancing our practice. Yes, mental health may well come into it, but I wouldn't want there to be any compulsion or objective to discuss it especially with people you don't know particularly well. (ASWK)

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I wouldn't want to join an art group with an overriding focus on mental health. The words "therapeutic" and "recovery" switch me right off. I'd rather talk about exploring and advancing our practice. Yes, mental health may well come into it, but I wouldn't want there to be any compulsion or objective to discuss it especially with people you don't know particularly well. (ASWK)