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The Adjacent Possible: Evolve Your Art. from Blank Canvas to Prolific Artist by Nancy Hillis (2021)
, 1 Sept 2022
Hilli's book is both a source of inspiration and a constant frustration to read. This could have been a great book if anyone had bothered to edit the book for content. It has great advice and concepts, but it is too wordy and repetitive and feels amateurish. MAIN CONCEPTS
> Zero to One, there is more distance or space between zero and one, than from one to two, two to three. In art, this means that the most difficult thing to do is starting anything. That is why a blank canvas can be terrifying and we postpone or delay working on it.
> The adjacent possible shows that any option that we make, whether in life or art, leads to something else that was unpredictable or unknown. It is something like the butterfly effect. So a new mark or line in a canvas might create, for example, a shape that inspires us to create something else that we hadn't thought about. For that to happen, the artist has to be ready for the unknown, dive into the unknown, allow the unknown to materialize by opening to it, and leave the predictable, the rules and the comfortable behind.
> Exploration and experimentation are at the core of creativity, and are the basis to progress, grown and evolve as an artist as complacency gets artists stagnant.
> Ugly art is necessary and teaches us invaluable lessons. We need to get comfortable with our ugly stuff and see that as a stepping stone for improvement and growth.
> The adjacent possible shows that any option that we make, whether in life or art, leads to something else that was unpredictable or unknown. It is something like the butterfly effect. So a new mark or line in a canvas might create, for example, a shape that inspires us to create something else that we hadn't thought about. For that to happen, the artist has to be ready for the unknown, dive into the unknown, allow the unknown to materialize by opening to it, and leave the predictable, the rules and the comfortable behind.
> Exploration and experimentation are at the core of creativity, and are the basis to progress, grown and evolve as an artist as complacency gets artists stagnant.
> Ugly art is necessary and teaches us invaluable lessons. We need to get comfortable with our ugly stuff and see that as a stepping stone for improvement and growth.
THINGS THAT I REALLY LIKED
Beyond the concepts mentioned above I liked some of the points that the author made. Here some of them:
> Not being a known artist is actually a blessing, as this allows to create good art. However, even professional artists benefit for the approach of obscurity: What would you create if you were invisible? How would you sing if no one were watching? What if you were unself-conscious in your art making? What risks would you take if the outcome didn’t matter?
> It is never pleasant when someone is critical of your art. The worst part: however, is when a part of you agrees with the criticism.(p. 60).
> Advice on how to keep track of our art.
> The questions to make a self-assessment of our art.
> The technique trap: No amount of technique will move you closer to expressing your deepest art. Technique is painting from the outside in, rather than the inside out" (p. 148).
> Learning that Joseph Campbell wasn't the father of the concept of the hero's journey.but Edward Burnett Tylor.
> The fact that luck is related to two habits: changing up daily routines and avoiding over-scheduling.
> I thought that the best chapters in the book, due to their content, structure and clarity, are:
> Not being a known artist is actually a blessing, as this allows to create good art. However, even professional artists benefit for the approach of obscurity: What would you create if you were invisible? How would you sing if no one were watching? What if you were unself-conscious in your art making? What risks would you take if the outcome didn’t matter?
> It is never pleasant when someone is critical of your art. The worst part: however, is when a part of you agrees with the criticism.(p. 60).
> Advice on how to keep track of our art.
> The questions to make a self-assessment of our art.
> The technique trap: No amount of technique will move you closer to expressing your deepest art. Technique is painting from the outside in, rather than the inside out" (p. 148).
> Learning that Joseph Campbell wasn't the father of the concept of the hero's journey.but Edward Burnett Tylor.
> The fact that luck is related to two habits: changing up daily routines and avoiding over-scheduling.
> I thought that the best chapters in the book, due to their content, structure and clarity, are:
-- 12 Three tips for artists (keep a journal, just start, and work in a series).
-- 13 Three massive mistakes even the pros make (painting paralysis, the tyranny of technique, and empty virtuosity).
-- 14 Four traps artists face where old beliefs are replaced with new ones ( the critique trap,
the imposter trap, the judgement trap, and the technique trap).
-- 15 Three invisible paradoxes ( the refusal, the perils, and he dark night of the soul).
Finally, I also liked the recaps at the end of some chapters, some of the simple exercises advised and the fact that any major point discussed in the book has a real life story attached to it. -- 13 Three massive mistakes even the pros make (painting paralysis, the tyranny of technique, and empty virtuosity).
-- 14 Four traps artists face where old beliefs are replaced with new ones ( the critique trap,
the imposter trap, the judgement trap, and the technique trap).
-- 15 Three invisible paradoxes ( the refusal, the perils, and he dark night of the soul).
NOT SO GOOD
This is a self-published book and, unfortunately, shows terribly. The book lacks a good structure, lack of cohesiveness in structure to be precise, as repeats the same ideas na concepts over and over, ad nauseam. One gets exhausted after the same ideas are repeated ad nauseam for nearly 200 pages.
Some of the more scientific concepts are unnecessary discussed in scientific jargon when in fact the simple explanation given at the beginning is sufficient. I thought that the description of what the hero's journey is was too long. Also, Hillis has a tendency to divert from the discourse at hand to then go back to it.
For the rest, the book seems addressed to professional or established artists not as much to beginner artists.
KINDLE EDITION
The Kindle edition is well edited except for some minor typos. Some of the ones I've noticed:
-- p. 78 short dashes should be replaced with long ones.
-- p. 155 there is the 3rd item of a list, mistake number 3, but is mistakenly labelled as mistake #1 .
-- p. 215, an hyphen is used instead of a long dash.
IN SHORT
The core of the book is as follows: start something even though that's the most
difficult part. Experiment, be fearless, accept your mistakes and learn
from them. Do art that reflects who you are not what other people want
to see. Keep open to experimentation and the unknown as these are
the keys to artistic growth. Technique serves art and it is not art per se.
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