Why did you decide to do Creative Sprint?
I think it’s important to be vulnerable in order to grow as a person, and especially as an artist. Letting folks in on my rapid prototypes is really good for iteration and evolving ideas to the next level. Feedback is awesome, and to receive it, you have to make stuff for people to react to. Creative Sprint is in the spirit of creating output and sharing at all phases, not just at the point where you might call something your masterpiece. And that’s really freeing.
What was your greatest achievement during Creative Sprint?
To me, Creative Sprint has been about mustering the courage to be the art, accepting unconditionally the expression made as a living filter of reality.
I was at a dinner party on a Gramercy rooftop mid-sprint, and I watched myself, as if from above, setting up photo shoots for my newly-crafted gold eyeglass frames (part of that days task), over conversation and drinks. This was not normal behavior around people in politics and academia, yet it felt like the most natural way to behave because I was on a mission. Nobody else found it odd either—they saw my creating as naturally as I had. It was a big learning moment to be able to be my creative self very transparently and unapologetically and to experience no repercussions.
These 30 days have been a kind of realignment I’ve only otherwise gotten from yoga, meditation, or days spent in the woods/ on the road. I could see over the weeks that Creative Sprint actually let the best version of myself take control. I’ve improved in every other aspect of my work. Ideas that came to me during meetings were more relevant to the context, I collaborated more efficiently, communicated more clearly.
What is your biggest learning from the month?
With ever increasing collaborative challenges each day of the Creative Sprint, my output became more effective at creating moments to interact, play, laugh, and think differently together.
This was important for me to learn through doing, as it echoed my Design for Social Innovation grad work at the School of Visual Arts, where I’ve had to learn a lesson about not losing sight of the fact that my work is better when it is not the end, but the means to the end: a way to form connection, empathy, and understanding between people.
How will you apply that learning going forward?
Collaboration is the answer. Creative Sprint provided unique constraints each day, which incrementally edged more towards co-creation and learning together.
We artists sometimes get the urge to stay in our heads. But ideas only get better when we can get them out in the world in a sharable format, a draft to be iterated upon. When we take ideas outside of us and put them out there, we can share them, and get feedback. And the more kinds of audiences we try that with the better the next version can be.
Design for Social Innovation MFA, School of Visual Arts, NYC
Production Manager at Adapt Lab Productions