Andy Marshall

I come to this exploration through crisis and the need to find new ways of creating, of thinking, of interacting with other people – of being.

From my earliest serious creative endeavours – writing, directing and designing theatre pieces while at university – I have maintained essentially the same approach to creating: I work it all out in my head, put it down on paper and then make it happen in performance. I remember the sleepless nights, planning everything down to the most minute detail, from theme, narrative and dialogue to construction methods for a prop or costume. I still have the handwritten script of my final performance piece at Loughborough University. It is not a first draft – it is the only draft. 95% of the lines typed up into the rehearsal script and subsequently performed are just as I conceived them in my head and scrawled them onto paper.

And this is the approach that I have applied to the majority of my creative attempts and work ever since. Most recently, the creation of video material for Parc Prison and for Pupil Referral Units was guided by the tyranny of ‘my vision’. Now, it is not that this approach produces bad results. On the contrary, many of my projects have been greeted with acclaim. But there is a price to pay:

  • Such individual, intellectual hegemony relies only on what is already in my head, what I already know and that stock runs out leaving me bereft of starting points and creative drive.
  • Isolated thinking develops fear of outside influence and I cut myself off from other people and ideas.
  • It is ultimately very stressful as I assume and fiercely guard total responsibility for the process
I come to flowcreate to learn how to do things differently, in an environment where there is no deadline, no criteria, no customer, no target audience etc etc. My only given is the interaction with Natasha (who begins this process much further down the line than me) our own histories and skills – ceramics, drawing, video, performance and our shared desire to EXPERIENCE the world.
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Social Potentials of Making the Creative Process Visible

The project aims to identify evidence of how children infuse meaning into their imagery, both as individuals and groups. To achieve this, a specific context has been identified that the children can respond to; a shared context that enables identification and construction of a vocabulary of marks and symbols. This research centres on drawings created from a series of workshops with children from Bettws Primary School, Bridgend, as they come to terms with the destruction of their junior block when it burnt to the ground in July this year.
The workshops will take place with children at key stages in artistic development, namely pre-reflexive, schematic and representational, in order to examine thoughts and ideas that are spontaneous and gestural as well as more cognisant articulations of the event and its consequences.
​The remit of the workshops will be to examine how creative play can transport the mind from one reality to another; from the harsh reality of the children’s experience of the fire at Bettws into the more liberated or suggestible world of the drawn image. Allowing us to see incidence of play and at the same time appreciate the child’s wider psychological world. These worlds will be explicitly traversed, as this is where therapeutic properties lie, enabling objectivity, a new perspective from which to view familiar thoughts and feelings. Specifically, children will be facilitated in creative play through drawing as a means to encourage the progression of their ideas.

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  2. Surface Experimentation Leave a comment
  3. First Figure Leave a comment
  4. Can the activity of thinking / idea development be rendered tangible, be given form – Initial experiments: Leave a comment
  5. Thinking Loops: extending our capacity to think… Leave a comment