Artists Gathering Nov. 09 (London Town Hall)

I was invited to a small gathering of creatives and others recently, here are couple of photos from the evening.

Night Creativity

The Creative Heart Glows Best At Night (2009)

I have been experimenting with my creativity at night since 1999, like most creative people I feel most relaxed and able to create once the chaos of daytime activity and the noise from the ever increasing noisy outer world has receeded into quiet. I am most fascinated by the forms, patterns, shades and shadows that objects make when you move different lamps or lights about at random.

Studio 7 + Creativity Theory

I am currently turning my flat into an art studio and micro-gallery.










The questions I ask myself at this time are:

Am I creating an independent-underground art gallery in opposition to the mainstream?

Is my flat becoming an art installation in itself?

If I turn my flat into a gallery, and exhibit others work in, will I become a work of living art, a human exhibit within the space?

Notes:
_____

As a self-taught creativity theorist my notion and practice of art is not focused upon making nice things to decorate hotel lobbies, restaurants, or living room walls. My "artistic" output is merely the end result of my inner creative process and largely only of significance to me in what it demonstrates about the nature of my creative unconsciousness as opposed to any perceived level of artistic skill, or lack thereof.

It is the creative process, a combination of my psychological and emotional processes in a reflexive and organic relationship with the external world of others, objects, and social processes, that ultimately determines and effects my creative process; it is my outer self-expression through the inner creative process which results in  forms and objects or outputs that in some quarters people may, or may not, refer to as art.

I am only interested in what the end creative output or object tells me about the inner creative process of the individual who produced it, and what it tells me or shows me about the inner nature of both individual and community creativity, and what Carl G. Jung refers to as the:.

collective unconscious

Cornwall Art Break

I recently spent a week in Cornwall on a short break visiting a friend and creative collaborator whilst experimenting with Land Art. We didn't have much time to really get into as there were a few ethical and local issues we had to contend with, but the few thing we quickly managed were quite enjoyable, and gave me loads of ideas for next time.



I think the one really spontaneous thing that came out of it for me was the idea of puttting a Yin-Yang symbol inside the "o" of any document prefaced by activities of The Creativity Manifesto. The notion just sort of emerged in my mind as I was on the beach............

The Creativity Cell

The Worlds First Creativity Cell held its first event in London in 1999. Around 20 people participated in the event. During the proceedings any participant could get up and express themselves, or say whatver they wanted in any form, medium, or language. I was invited to be interviewed by a social and environmental art activist who I refer to as Joanne.c. Her ceative social intervention during this inaugural event has had a significant and lasting impact on the entire social process of The Creativity Manifesto, and will continue to do so. She is my best friend, and an important moral conscience for our time who has devoted her entire adult life to working for and supporting others, in areas such as Human Rights, Environmental Issues, Social Inclusion, International Education, and Community Arts. It is people like Joanne.C. that The Creativity Manifesto hopes to engage with, listen to, and invite such "Organic Catlysts" of creativity and change to help shape and guide this social process of art.








Every interview is, to a greater or lesser extent, performance art depending upon the social context, the aims of the interviewer, or the expectations of the audience. I thought this interview was going to be a friendly exchange on how community based creativity could be a means for revolutionary social change, yet it turned into a surreal comedic performance exchange that the audience found hilariously funny. People were laughing out loud, and one person later informed me it was the funniest thing he had ever seen. Ask yourself, how can an interview and two-way dialogue about the revolutionary potential of art and creativity become the funniest thing someone has ever seen.

This active involvement and connection of the aduience in the dialogue and process of the event became far more open and active than had ever been thought possible by virtue of Joanne C's spontaneous and geniune behaviour, which acted as a radical intervention puncturing any unconscious artistic prentensions on either my part, or that of The Creativity Manifesto. It was a critical lesson in how a theory, system, plan or event can never fully anticipate, nor control the social process of creativity when people come together in an space of freedom.

The Creativity Manifesto Presents at "The Free School"

The Creativity Manifesto has been invited to hold a public participation art event at "The Free School" Art Collaboration.

This public participation will be of particular interest to artists with a social or political element to their work, art-activists, or anyone with a more general interest in the themes of creativity and community.

The title of this social art experience is:
"The Politics of Art & The Art of Politics"A Revolutionary Perspective.

David Augustine

Date: Saturday 2nd May
@Five Years
Unit 66 6th Floor
Regent Studios
8 Andrews Road
London E8 4QN

491 Gallery "Art As Social Sculpture"

Although all the theoretical elements, and social philosophy elements of the The Creativity Manifesto had been formed, set down, and applied through art events such as "The Creativity Cell" and The Turpin Prize," it was only through an lengthy (4 years) and intense living art period of participant observation and total community immersion within the 491 Gallery that various creativity theories, and aesthetic experiences, could organically evolve under the Artistic and Political Social Philosophy of "Creativity & Community".

It was through such experiences and aesthetic events that The Creativity Manifesto observed both the positive and negative social & psychological aspects of interpersonal relationships in terms of the creativity of art organisational dynamics, and begin to attempt what Joseph Beuys called "A Total Work of Art as Social Sculpture". (See web link)


491 gallery & Vertigo Cinema images 2000 - 2005

The Blue Room


Art From The Blue & White Experience


Gallery Art