Week 10: Recovering a Sense of Self-Protection
(Only two more weeks!)
In this chapter, Cameron focuses on how artists and creatives can protect their newfound creativity and artistic growth. She highlights common obstacles that can sabotage creative progress and offers strategies to safeguard one’s artistic journey.
Dangers of Creative Sabotage
Cameron discusses how, after making progress, artists often encounter self-sabotage. This can come in the form of toxic relationships, self-doubt, fear of success, or procrastination.
She encourages readers to be aware of these destructive patterns and take steps to counter them.
The Role of Workaholism
Many creatives overwork themselves, either as a way to avoid facing their emotions or as a socially acceptable addiction. She explains how constant busyness can drain creative energy and leave artists too exhausted to make meaningful work.
The solution: setting boundaries, allowing rest, and making time for creative play.
Dangers of Competition and Criticism
Comparing oneself to others can be damaging, especially in the early stages of artistic recovery. She warns against taking criticism too personally and advises trusting one’s own creative instincts.
Instead of seeking validation, artists should focus on their personal creative path.
Cameron urges artists to guard their creative growth fiercely. By recognizing self-sabotaging behaviors, avoiding toxic influences, and setting healthy boundaries, artists can continue to develop their craft without unnecessary obstacles.
I've done morning pages five out of six days. Reading my pages has brought me cringe. I can freely write down action plans that I would have taken without forethought.
This week, I stayed for a webinar. The last artist date to a Swan Lake ballet got me out of a drought. I was not seeing the purpose of my pages, but I'm glad that I can accept art the way it is.
I saw a double chamber accordion for sale, but buying it and coming back home requires me to take time off. I don't know if this is what I really want, but my accordion has air leaks and gets quiet high notes on piccolo reeds.
I like overtime. I like work challenges. This keeps me from doing sedentary learning like with music theory. I've heard from a professor that my drawings were noisome. Pointing towards the sides of the canvas makes art look edgy. It might be my own nervousness from being vulnerable. My ego says, "I have to be at work to make money. I have to be of service to the disabled." "Be vulnerable or people will get mad at the blocks I form from connecting." These are struggles from creating. Yesterday, I greeted visitors at work more profoundly and with the most authentic yet cringy smile I could produce.