The Creative Act: A Way of Being

Chapter 45 identifies the core of artwork and its individual essence. Moreover, the essence can be derived from any number of creative elements: “the theme, the organizing principle, the artist’s point of view, the quality of the performance, the materials, the mood conveyed, or a combination” (241-42). Artists should be careful not to obscure the essence during the craft or completion phases. The goal of an artwork is to find the “simplest, most elegant way” to convey the essence of the piece (243).

Chapter 46 describes the histories and rituals about the creation of art. Rubin insists that these stories of pure fiction. The artist should accept that nobody, not even creators, knows why art is made: “Art reality is forever unknown” (248). We exist in confusion, and our goal is to survive in a world of innumerable uncertainties. Artists should not hold other artists as deities; they are normal human beings with flaws and vulnerabilities. Lastly, Rubin recommends that artists cease the pursuit of understanding an artwork’s true meaning. Instead, they should embrace the fact that “there are forces beyond our comprehension” at work (249).

Chapter 47 explains how artists can focus on their art and ignore outside influences. First projects typically develop in the individual artist’s personal vacuum. When these projects are released, however, audiences, investors, friends, collaborators, and critics emerge. These external factors can distract the artist from true self-expression: “The key to navigating this phase of an artistic journey is learning to tune out” (254). The first step in tuning-out is to acknowledge the natural self-criticism that occurs daily. With the power of acknowledgement, artists can detach themselves from these fictional notions about their capabilities and the work. The second step is to regularly engage in this practice as part of the artistic process. Intentional focus on cultivating an awareness of inner thoughts and feelings will connect the artist to the universe and slowly divorce them from the external factors in their path to creation.

Chapter 48 explains the importance of an intentional practice of noticing how the individual responds to the world. During childhood, our access to sensitivity is unencumbered by society, until parents, the educational system, friends, and mentors start to teach us how to obey. Rubin believes that this system is not to the artist’s benefit, as the artist’s purpose is to understand the world at large. To be self-aware is to “notice how we notice the outside world” (258). Tuning into this self-awareness allows the artist a stronger connection to the signals of the universe, which provide the seeds for artistic growth. Ironically, the cultivation of self-awareness means giving up the self. By quieting the mind, the ego loses its dominant voice, and the individual starts to realize their artificiality in the world. Thus, the true self, as with the artist, emerges in closer and closer alignment with the universe.

Chapter 49 addresses the inevitability of stagnation. Obstacles in the creative process are often the result of the artist’s lost connection to the abundance of the universe. This impasse is the perfect moment for the artist to surrender, allowing the artist to lose the preconception of value. Artists should acknowledge weaknesses in the work while continuing to move forward. Some artists feel compelled to abandon challenging work. Rubin says that this impulse is a signal to artists that the frequency to the artwork needs to change. Using any of the recommended detachment methods can awake the reader to a new revelation about the art. The source of creativity is not biased, and so artists should detach from value judgements and listen to the signs of the universe.

Chapter 50 encourages artists to notice the signs of inspiration, big or small, that motivate the artist to completion. Even the most delicate message can point the artist into a fruitful direction. These “whispers,” however, can only be heard when the mind is quiet and the “antennae sensitively tuned” (270). Meditation or other modes of quieting the mind, like walking or swimming, can subdue the inner voices and make the artist more receptive to ideas.

Chapter 51 says that sometimes mistakes or accidents can offer the most enlightening messages. These moments can give the art “exactly what it needs” at the perfect time (274). Surrendering to these chaotic forces can give the artist a semblance of a higher order that can be accessed to pervade their art. Although this intelligence is incomprehensible to us, we can still feel it and deploy it in the art itself.

Chapter 52 explains how artists can manage the weight of art’s potential. Artists must trust the process to manage expectations. Belief in the art itself, not the individual or the audience, allows creativity to advance. Artists need to accept and nurture this faith in the unknown during the creative processes.