Not a morning person, or can’t beat that pre-coffee fuzziness? When time is money we can’t afford to drift off into a haze of Instagram reels and endless Pinterest pits - or at least not every few minutes. All you need are these five simple habits to combat that unproductiveness and figure out your productivity flow!
Mentoring is a proven tool to help individuals reach career milestones, feel more confident in making career and business choices, and create a more harmonious work-life balance. If you’ve been searching for a mentor—or to be a mentor, now is the time!
In case you missed it, 2020 has left the building! Whether you’ve jumped into the new year head first ready to take action, or if you’re still coming out from summer hibernation mode (guilty!) we have a collection of must-listen podcasts to help kick-start your year and crush your goals.
Not a morning person, or can’t beat that pre-coffee fuzziness? When time is money we can’t afford to drift off into a haze of Instagram reels and endless Pinterest pits - or at least not every few minutes. All you need are these five simple habits to combat that unproductiveness and figure out your productivity flow!
What would you say if someone asked you, “Are you a leader?” Would you stand a bit taller and give an authoritative “Yes!”? Or would you hesitate, not wanting to seem a bit, well, pompous?
For those who work in large organisations, leadership is a hot topic and something staff are expected to aspire toward. The Centre for Workplace Leadership found that sixty percent of the Australian organisations they surveyed offered some form of organisational leadership training. The ability to lead and manage others is not only something employees are prepared for; in many companies, staff are told “we are all leaders” regardless of position or title. Leadership: it’s a vibe.
Is it different, however, for those in the creative sector? Leadership, as outlined in my post published in April, is a fluid concept. We talk about it a lot, but we don’t have a solid idea of what it actually is. With this in mind, do creative practitioners aspire to be leaders?
I’ve spent the past four years talking to creative practitioners about leadership across four states and nine different disciplines, from visual arts to digital design and theatre. The vast majority of those I spoke to were undertaking leadership roles: running organisations, managing staff and volunteers, influencing cultural debate, and representing their communities. However, when I asked them, “Do you consider yourself a leader?” I discovered that their relationships with leadership were complex.
Emerging leaders were often hesitant to embrace the title of “leader.” Some worried that it made them seem “up themselves” (a very Australian concern); others didn’t recognise themselves in the media portrayals of successful leaders.
My research considers how we define ourselves as leaders—not only through our internal thoughts and feelings toward leadership, but also how outside forces shape our leadership identity. Some of them may be familiar to you.
Leaders are often held up as an ideal. “Good” leaders are those who win awards, make a lot of money, inspire praise, and receive attention in the media. Think of the late Steve Jobs, Richard Branson, and even Sophia Amoruso, whose book #Girlboss inspired the new Netflix series of the same name. Emerging leaders have a tendency to compare themselves to these ideals, which are often highly constructed and marketed versions of leadership. We also compare ourselves as leaders with those around us. For those who work in organisations, you may look at your managers and peers and consider your skills, knowledge, and experience in light of theirs. Many creative practioners with whom I spoke saw being a leader as something they were not yet equipped to do. They believed they needed more skills, more experience, more recognition.
But being a leader is also something bestowed upon us by others—for example, by being promoted from team member to team leader, or by having “supervisor” or “manager” added to your job title. Many creative practitioners felt the weight of organisational expectation when it comes to leadership, especially when a new role or organisational progression meant moving away from individual creative practice to the management and organisation of others to achieve creative goals. Creative practitioners often felt comfortable being recognised as a leader in their discipline, but were resistant to the idea of managing other people.
There were also personal identity factors that influenced creative workers’ relationships to leadership. Australians like to see themselves as egalitarian in nature, especially in the arts, and have a tendency to shoot down “tall poppies.” Creative leaders are concerned about remaining humble, wanting to be seen as one of their peers rather than putting their hands up to lead.
Gender is also an inescapable topic when considering leadership. Many of the women I spoke to were uncomfortable calling themselves leaders, while these feelings of inadequacy were less likely to be expressed by their male counterparts. Participants in my study—of both genders—also noted that there is an (incorrect) perception that female leaders in the arts are bitchy, catty, and not supportive of their peers. In a number of sectors, leadership was closely associated with competition. Those in positions of power did not have a sense of generosity toward the development of others; their focus was more often organisational survival and gaining access to scarce resources or opportunities.
The result of all these pressures felt by emerging leaders in the creative sector is that they are less likely to identify personally as leaders. We might ask, “So what?” As long as they keep acting as leaders, as many are, who cares if they don’t proudly wear the “leader” label?
If the next generation of cultural innovators, pioneers, and trailblazers are reticent to call themselves “leaders,” they may also be unwilling to apply for leadership opportunities, development, and positions. Leaders require confidence to reach out and grasp what the future offers.
In addition, Australia needs strong, vocal, creative, and cultural leadership. The economic challenges facing creative industries, cuts to funding and arts education, culture wars—all of these all require leaders in the community to be strong not only for their organisations and individual businesses, but for the sector as a whole.
When a leadership opportunity arises, will you be ready to step up to the challenge? Or are you a reluctant creative leader?
Kim Goodwin is an academic researcher and arts manager with a background in leadership, human resources, and career development. Since leaving her corporate career, Kim has focused on building understanding in how creative leaders are developed while working in a variety of arts organisations and academic environments. She can be found on LinkedIn, or follow her on Twitter (@KimAroundTown).
Have you ever wondered how your personality type impacts your creativity? You’ve probably heard of the Myer’s Briggs Type Indicator (MBTI)—it’s a widely used psychometric tool for assessing personality. I sometimes use it in my coaching practice to help clients make sense of their personality preferences in the context of their creative lives.
About the MBTI
The MBTI has been used for decades as a tool for enhancing self-awareness and development in business and personal life. It’s based on four dichotomies (pairings) that interact with each other to produce a total of sixteen possible personality types. The preference dichotomies are:
A person’s preferences will fall on one side of each dichotomy; across the four pairings this results in a “type.” For example, my type is an INFJ: Introversion/Intuition/Feeling/Judging.
While the complexity of personality can’t be explained by any single assessment, and there are some validity issues with the MBTI, I still find it a useful tool if the results are considered within a broader life context. In my experience, the MBTI genuinely helps people make greater sense of how they interact with the world and how they perceive and process information.
How does your type impact your creativity?
The realm of creativity isn’t “owned” by any one type, although some preferences may help or hinder creativity in different ways. Let’s explore some of these below.
Introversion (I) vs. Extraversion (E)
Contrary to popular belief, “introvert” doesn’t refer to a quiet, shy wallflower, but instead a person who recharges and gains energy from time alone, regardless of how outgoing or friendly she is.
When it comes to building a dedicated creative practice—something that requires a lot of focused, solitary time—introverts may have a head start. The challenge for creative extraverts is to balance social and creative time to meet both needs. Conversely, when it comes to promoting one’s creativity, extraverts’ social ease and larger networks offer more opportunities for connecting with potential collaborators and supporters, a task introverts often find daunting.
Tips:
Intuition (N) vs. Sensing (S) T
he N/S dichotomy describes how we perceive and gather information. People with N preferences are described as big-picture people, abstract thinkers, people who make gut decisions. S people are more concrete and focus on details, data, and evidence; they are the “seeing is believing” type of people.
When it comes to artistic creativity, Ns are all about the expression of ideas, while Ss tend to focus on execution and craftsmanship. In coaching, N clients often need guidance with choosing ideas and implementing them consistently, whereas Ss need more help thinking “outside of the box” and “connecting the dots.”
Tips:
Thinking (T) vs. Feeling (F) Thinkers make decisions based on logic and facts, as opposed to feelers, who tend to decide based on feelings and perceived impacts on other people.
Because feelers perceive their art as extensions of themselves, they often get caught up in beliefs of how the world will perceive them, which can lead to fear, self-doubt, and creative blocks. Thinkers, on the other hand, tend to dissociate a little from their work and treat it like a project to be delivered, rather than an aspect of themselves. This emotional distance may make it difficult to connect with audiences—something that comes far more naturally to feelers, who are in tune with themselves and the feelings and drives of others.
Tips:
Perceiving (P) vs. Judging (J) Another common misconception is the J label, which doesn’t mean that a person is judgmental. Instead, “judging” refers to the preference for closure, certainty, and organisation. Perceiving, at the opposite end, is a preference for flexibility, open-endedness, and spontaneity.
When implementing creative projects, judgers prefer a structured approach; they set goals, manage timeframes, and follow through to closure. Perceivers, on the other hand, often feel confined by plans. They tend to procrastinate and go off on tangents (albeit sometimes very interesting ones!), which can lead to half-finished projects. Because judgers are so focused on following through, however, they often fail to notice (or even dismiss) opportunities that open up along the way but feel disruptive to the original plan. Perceivers, on the other hand, are quick to recognise new sources of inspiration and information—and take advantage of them.
Tips:
Creative self-development and the MBTI When developing your creative self, it’s sometimes useful to tap into one of your preferences more deeply. Other times, it’s beneficial to challenge them and try the opposite. For example, on the J/P dichotomy, I’m very strongly a J. This is great when working solo, because I know how to balance my need for structure with idea exploration, but when collaborating with others my judging tendency can stifle the creative process. I’ve learnt over time to let go and step in as the structure queen only when necessary.
What next?
Bronya Wilkins is a creativity coach and founder of Creative Cocoon, a coaching practice dedicated to helping people connect with their creativity. Bronya is passionate about psychology, self-development, and creative expression. Some of her hobbies include dance, graphic design, music composition, and photography. You can find her Facebook and Twitter, or follow her on Instagram (@creativecocoon).
One of the greatest gifts that illustrator, teacher, and soapmaker Dawn Tan gives her students is the permission to make mistakes. Having taught art since she was seventeen, as well as working as an illustrator, Dawn embraces the art process as changeable. “If you make a mistake, just go for it,” she said. “Change it up a bit. See how you can do something new out of that mistake that you’ve made.”
Dawn’s “Making Space” Dawn welcomes me into her Yarraville home in Melbourne’s inner west. We can feel it is going to be a warm day, but for the moment we are both thankful for the coolness of her kitchen and dining room.
Dawn’s studio space has a gentle filtered light. The Victorian terrace she shares with her husband, Darren, is filled with art by friends and by artists she admires—such as good friend Madeline Stamer—as well as objects collected on the couple’s travels. A recent trip to the U.S. and India has prompted new designs featuring images and patterns inspired by the American desert and India’s magical colours and spices.
The long wooden table in her dining room is where Dawn creates her illustrations. On the day I visit, the table is neatly arranged with resources for a work in progress. The watercolour painting she shows me is of her client’s grandparent’s home, which Dawn carefully paints with fine detail as a precious memory for her client.
A Creative Life Along with working as a freelance illustrator and having her work published by such clients as Frankie and Hooray magazines, Dawn teaches workshops for adults in her home, and for children as a school art teacher.
In the last six months, Dawn has also discovered a love of making handmade soaps—enticing in both looks and aroma. The packaging for her soaps bears Dawn’s signature watercolour drawings, and the scents include apple cider, Joshua tree cactus, and chai milk tea. “I started making soaps not only because I wanted soap for myself, but because I was going through quite a rough patch when I was teaching and working in my previous school,” she explained. “I found that I needed a way to relax and not think about anything else, to do something different for a change.”
In high school, Dawn had great support from teachers who recognised her natural artistic ability and encouraged her to pursue an artistic career. Her friends and family have also encouraged her to keep going with her art, in part by ordering prints and custom house portraits, buying soaps, and sharing her posts on social media. “A lot of my colleagues were amazing, super troopers, cheering me on,” said Dawn.
The Little Art Yurt In June 2017, Dawn will fulfill her dream of opening her very own art school: The Little Art Yurt. “I’ve always known that I wanted to teach,” she said.
As Dawn awaits delivery of a large round tent, which will fill the entire outdoor space in her courtyard, she prepares for the school—planning, designing brochures, and adding students’ names to the ever-growing waitlist. She already has the most elegantly made aprons ready and waiting for the first class, hung on a plywood rack made by her father-in-law. The Hedley & Bennett aprons are examples of Dawn’s attention to detail: she is sensitive not only to the ways children engage with art, but also to how they feel physically while creating art. The aprons let children move freely without being hampered by stiff, bulky art smocks.
Dawn possesses a true joy of teaching, describing it as something that feeds her creativity. “I find that, especially working with children, they have this sort of crazy, fun energy about them. It makes you learn how to let go and just relax,” she said. “I see it as an exchange of knowledge. I see kids as teachers as well.”
Dawn comes from a family of teachers. “Being able to share what I love—which is art—helps me be inspired. I enjoy having conversations with people, sharing experiences, food, laughs. All these things help me create better as a maker.”
Being an Artist At the end of each day, Dawn makes a deliberate effort to pack all of her work away onto her shelves, a method she has recently adopted. “I used to leave everything out lying on the table,” she said. “I used to have a separate table in a little corner, but then we bought this bigger table and I realised that having this big kitchen table forces me to put everything away. It actually helps me think better and work better because every day is a new fresh start.”
Dawn’s watercolour illustrations are distinctive, with their use of fineliner and watercolour. Layers of watercolour in elegant tones capture doughnuts, cakes, food, plants, houses, and packaged goods. Dawn decided a while ago that drawing people was not for her, preferring to draw inanimate objects. Her style brings the subjects she paints to life, as if we are experiencing them through her eyes. “One word that’s kept coming up over the years is ‘raw’: how my work is so raw, almost like reading through someone’s journal. I like that,” she said.
Dawn is open and honest in the way she shares her life and work online. “When you have a very personal voice—when you’re just you and when you don’t hide, when you don’t make it all look nice and fancy—I find that people actually appreciate it more,” she said. “I always wanted to be the sort of artist where there’s no hiding, so, yeah, I think I’ve achieved that.”
Dawn’s Tip Dawn encourages women who want to start their own creative business, or who struggle to juggle their business with other demands, to believe in themselves. “Don’t doubt yourself,” she said. “I’ve learned over the years that if you’re going to sit there and hesitate and doubt yourself and think, ‘What if? What if?’ then it’s never going to happen. Just do it. If you fail, you fail. Dream big; go do it. If you don’t try, you’ll never know.”
To find out more about Dawn and her work, visit her website or follow her on Instagram (@handmadelove).
Photos and podcast audio production by Jenni Mazaraki
Jenni Mazaraki is an artist, designer, writer, and podcaster who helps women tell their stories. She is particularly interested in the ways women make time and space for creativity. You can see more of Jenni’s work at localstoryspace.com, on Instagram (@localstoryspace), or on Facebook.
Based in the seaside suburb of Sandgate in north Brisbane, Wallflower Floral Design is the brainchild of Renae Handy, florist and all-round creative lady. Wallflower has had a steady rise since it started in 2015, and Renae and her four staff are kept on their toes arranging and delivering flower orders, creating floral bouquets and installations for weddings, and being part of events and photo shoots.
How did you come to being a florist?
My parents own a wholesale nursery and I grew up surrounded by plants. My first job was putting things in pots when I was six years old, working in the nursery. So it’s in my blood, the horticultural thing.
It all really started when I did the flowers for a friend’s wedding. I cut a whole lot of sunflowers from my dad’s neighbour’s farm and just arranged them. People loved it and I really liked doing it. So I started doing flowers for friends’ weddings for free and for fun… using Woolworths flowers!
Then I thought, maybe I could make this into a business. I registered the name and created an Instagram page. I did a cert II and cert III at a flower school after I opened the business. I didn’t write a business plan; I’ve just been following the tumbleweed!
I was that person who was always chopping and changing jobs. I went to see a career counsellor and said, “Look, I don’t know what to do with my life. I want to start a café, be a real estate agent, or be a florist.”
And she said, “If you want to start a café, you need money and a business degree. You’re too nice to be a real estate agent; that whole industry will destroy you. And florists, they don’t make money so don’t be a florist.”
For so many years I tried many different things, which has meant that this business has a really solid grounding.
What does a typical day look like for you?
I go to the market on Mondays and Thursdays and pick up whatever we need for our week’s orders and for the shop. On market days, I get up at four am—so if someone wants to be a florist and she’s not a morning person, it’s not the job for her!
While I’m at the market, I’m thinking on my feet, making decisions about what is going to work. If I’m buying for a wedding, I try to imagine the bride, which colours she looks good in, and what her vision is. When I’m buying for the shop, I have to think about what’s going to look good, what’s going to sell, and what’s going to last.
If you don’t make quick decisions, the florist behind you will probably snatch up the flowers. It’s a bit of a scramble in the mornings! It can be stressful, but also fun.
At around seven am., I bring back the boxes of flowers. Then the girls and I spend time preparing them. We use tools to take the foliage off the stems, then cut the stems and put them in water. That takes a long time. We do a lot of work to ensure the flowers last as long as possible. We then do all the orders, talk to customers, and make up arrangements. We get a lot of walk-in enquiries. I also do bride consultations, so I’ll talk with brides and do up quotes. We often get stylists and photographers coming in, too.
Then we might do some deliveries and close up around four or five pm. It’s a pretty busy day.
Describe your floral philosophy. What does a Wallflower arrangement look like?
Our arrangements are whimsical, textural, eclectic, and natural. We pride ourselves on not being predictable.
Traditionally, florists are trained to have a hero flower, like a big rose or lily, then a complementary flower, a filler flower, and some greenery. That’s the basic recipe; florists have used it for so long, over and over again. I think that’s one reason I was so passionate about starting this shop—because of that recipe and tradition. Flowers are so beautiful, but because they were being presented in such a bland structure, people lost appreciation for their natural beauty. I’m passionate about showcasing flowers in their natural form.
What are the challenges of being a creative and an owner of a small business?
Some people think being a florist is a fairytale job, which sometimes it is because we do get to play with flowers. But sometimes it can be high pressure; it’s stressful to come up with something creative when you don’t have enough time.
It’s hard to be a creative and a businessperson at the same time. I’m split down the middle. There’s the voice saying, “You’ve got to protect your brand. You’ve got to make money.” But then there’s the other side saying, “Stick to your true self, do what you love.” As an artist, you’re emotionally attached, and you take time to make something beautiful, but as a businessperson, time is money… It’s such a battle.
Another challenge is to ensure my staff are happy. I want to encourage them personally and to help them find their place in Wallflowe. If my staff isn’t happy, nothing works.
In my family, my dad’s the businessman and my mum’s the creative. My dad is my business mentor. Every Thursday, we have a family dinner and I talk to him about my business challenges. He gives me great advice.
What does the future hold for you and Wallflower?
It’s important to keep learning, so I’ve got my eye on some courses I’d like to do to challenge myself.
For Wallflower, I’d like to increase the scale of the work we do, and do more installations, events, and weddings. More connections and collaborations. I want us to stretch ourselves and what we can do. It’s an exciting time.
Renae’s floral creations can be viewed on the Wallflower Floral Design website, Facebook page, and on Instagram (@wallflower.floral.design).
Kate Shannon is a freelance writer based in Brisbane after many years living in Darwin. She spends a lot of her time in the garden with her two little girls, and loves writing and learning about creative people, flowers, and plants.
Photos by Renae Handy (top, middle) and Kate Shannon (bottom).
This interview features our very first CWC Making Spaces podcast - have a listen and let us know what you think!
Freya Bennett loves the smell of rainforests. So she’s captured the smell in terrariums, which live all around her house.
It is warm and sunny on the day I visit Freya, the co-director of Ramona magazine, at her new home in Melbourne’s north. As she gives me a tour of the house, her curious cat, Phoenix, follows us from room to room. The space is open, with polished wooden floors and crisp white walls. Freya’s favourite print, of Edward Hopper’s 1942 painting Nighthawks, sits on the floor waiting to be hung when she has a spare moment.
Freya’s piano sits in the corner of the room and has been in her family for generations. It is a place where Freya can play music and relax without an end goal. As a musician, Freya has performed locally as well as produced music in collaboration with other artists. In 2013, she released The Marvellous Reject Girl, and the album’s single was played on Triple J Unearthed.
When Freya speaks, she is calm with a strong sense of self, a role model to women and girls. As a speaker at last year’s Breakthrough conference, she spoke openly about growing up in a culture that commonly objectifies women and girls, and her desire to challenge it.
Ramona magazine
Freya runs Ramona from her home. Along with her co-director, Sophie Pellegrini, she has created a platform that celebrates diversity, where girls can see a range of perspectives. Assisting Freya and Sophie is a team of interns, Creative Writing Editor Stephanie Markidis, and Music Editor Rose Sejean. “The magazine is quite girly,” said Freya. “It reflects Sophie and I. You don’t have to not be girly to be super feminist and strong.”
Ramona is a safe space for girls to challenge what they see, to question and express their inner worlds and dialogues through art and writing. The print and online magazine has a gentle aesthetic but doesn’t shy away from difficult topics, as Freya is keen to bring to light issues that may be considered taboo. More than 500 writers from around the world contribute articles about, among other things, body image, periods, breakups, mental health, self-care, sexual assault, and miscarriage. Ramona encourages girls to develop healthy relationships with themselves, their bodies, and others.
Ramona eschews sections on beauty and fashion, focusing instead on interviews with inspiring girls and women. Its focus is to create a forum where girls can see lives that are real, relatable, and achievable.
Discovering a different perspective
Freya’s mum sounds like the kind of cool, progressive mum you see in movies. When Freya was young, her mum introduced her to New Moon magazine, opening her eyes to content with an empowering feminist perspective. Freya became aware early of the negative messaging she received because of her gender. “I had boys constantly telling me I couldn’t do things because I was a girl,” she said. New Moon encouraged her by showing her the lives of strong, intelligent girls.
When Freya was twelve and outgrew New Moon, all she found available to her were mainstream magazines focusing on looks and fashion. She noticed how the lack of diversity in the magazines excluded her and anyone who wasn’t a tall white girl. “I realised that it’s such a broken system,” she said. “It’s teaching us to hate ourselves and hate our bodies.”
Starting Ramona magazine
Two and a half years ago, Freya and Sophie started Ramona as an alternative to mainstream media for girls. “I started seeing sexual objectification all over the place,” she said. “And once you start noticing it, it’s just everywhere.”
Turning her feelings into action was key to Freya’s motivation. She hoped that by expressing her thoughts, she could help others feel less alone. “It came from a place of ‘I need to do something, because otherwise I’m going to feel so stressed and sick and angry,’” she said.
A space to create a magazine
Upstairs, the house is filled with light. The study is home to two wooden desks. A large poster of Tara Presnell’s front cover illustration from the latest issue of Ramona hangs in pride of place on the wall. Freya’s paints and brushes are out on her desk with a work in progress waiting to be finished. Hanging above the desk is a painting of a sweet girl, by illustrator Jordyn McGeachin, who contributed work to volume two of the magazine.
Against one wall sits a low bookshelf filled with books, photos, and artwork. Framed typography by Erandhi Mendis rests on the top shelf above a colourful floral box in which Freya keeps her treasured old copies of New Moon.
Though she mostly works on her own, Freya sometimes has a friend work alongside her, which she finds helps motivate her. At other times, she takes her laptop and works in the local café. Given that her work is largely online, her job is portable.
The future of Ramona
In December 2016, Ramona celebrated its second print edition with an artist market and performances from musicians Charm of Finches, Georgia Fields, and Sandy Hsu.
Freya is hopeful for the future of the magazine, with plans to branch out into more projects, including mentoring to girls.
Contributors are encouraged to submit their work, even if they are unsure whether it’s ready for publication. “We love hearing from people and everyone is welcome,” said Freya, “We often work with you, so if you’ve got an article that you’re not sure about, we can help you with it.”
Freya and Sophie currently invest their own money into the publication, but hope the magazine will grow and earn enough revenue to support itself.
For Freya, the magazine reminds her that she is brave. “I feel like I’ve got this force of five hundred girls and women behind me,” she said. “It feels really nice.”
Jenni Mazaraki is an artist, designer, and writer who helps women tell their stories. She is particularly interested in the ways that women make time and space for creativity.
Photos and podcast audio production by Jenni Mazaraki
